Tiffany Haddish’s love for Groupon is sending her to the Super Bowl. The Girls Tripactress went viral last summer, when she told Jimmy Kimmel a story about taking co-star Jada Pinkett-Smith and husband Will Smith on a Groupon swamp tour while filming in New Orleans (watch below).
The hilarious re-telling, which included the revelation that the Smiths had no idea what Groupon was, apparently spread quickly through the ranks of the discount e-commerce site. The company decided that they wanted to work with the actress and offered her a role as spokesperson. Now, she’ll be featured in a series of ads for the company, including its first Super Bowl commercial in seven years, which will air during the fourth quarter of the game.
According to Groupon’s head of marketing for North America, Jon Wild, when the company looked into Haddish, they not only found that the actress is a bonafide fan of its service, but that she is actually in the top 1% of most frequent purchasers. “She knows our product better than a lot of Groupon employees,” Wild said. “She could name what she’d done, the experience she had and how much she’d saved.”
That expertise not only landed Haddish the spokesperson gig, but also effectively made her an honorary employee. Groupon has also given Haddish her own section of the site, given her access to the employee app, and “put some Groupon bucks in her account.”
NEW YORK–(BUSINESS WIRE)–Essence Ventures LLC, an independent African-American owned company focused on merging content, community and commerce, today announced its acquisition of multi-platform media company Essence Communications Inc. from Time Inc. ESSENCE President Michelle Ebanks will continue at the helm of the company and will also join its board of directors. In addition, the all Black female executive team of ESSENCE, including Ebanks, will have an equity stake in the business.
“This acquisition of ESSENCE represents the beginning of an exciting transformation of our iconic brand as it evolves to serve the needs and interests of multigenerational Black women around the world in an even more elevated and comprehensive way across print, digital, e-commerce and experiential platforms,” said Ebanks. “In addition, it represents a critical recognition, centering and elevation of the Black women running the business from solely a leadership position to a co-ownership position.”
Through the Essence Ventures’ investment and resulting incremental growth opportunities, ESSENCE will focus on expanding its digital businesses via distribution partnerships, compelling original content and targeted client-first strategies. In addition, the brand will expand its international growth by planting its rich content ecosystem, including the flagship magazine, digital properties and successful live event franchises, in more global markets with women who have shared interests and aspirations.
Jay Z released his video for his single “Family Feud” last night exclusively on Tidal, although it was more than a standard music video premiere. Much like anything else he and Beyoncé create, it was a cultural event to punctuate 2017 with the most inclusive, woke A-list cast you will ever see in a music video.
Helmed by Ava DuVernay, the seven-minute-plus video is a short film, serves up some sci-fi, futuristic realness that can very well be a taste of what’s to come in the celebrated director’s adaptation of A Wrinkle in Time. Joining JayZ, Beyoncé and the heiress to their throne, Blue Ivy, includes an inspiring roster of actors from every part of the color spectrum: Michael B. Jordan, Trevante Rhodes, Thandie Newton, Jessica Chastain, Irene Bedard, Omari Hardwick, David Oyelowo, Emayatzy Corinealdi, AmericaFerrera, Aisha Hinds, Henry G. Sanders, and Storm Reid — who is the star of Wrinkle in Time. Rounding out the cast is the “founding mothers”, which feature Mindy Kaling, Rashida Jones, Rosario Dawson, Janet Mock, Brie Larson, Constance Wu, Niecy Nash, and Susan Kelechi Watson, who, as the video shows, are different women from all walks of life who are enlisted to change the country’s constitution.
Even though there is a cinematic scope to the video, which was co-written by Jay-Z and DuVernay, it is highly personal for the Grammy-nominated rapper, who uses the track from his critically acclaimed 4:44 album to confess his sins to his wife and all-around queen of everything, Beyoncé. Where Beyoncé used her visual album, Lemonade as a platform for working through her personal issues with Jay-Z, he used 4:44 to respond and tell his side of the story. In other words, it’s an artistic way of saying, “Yea, I messed up.”
Jay’s track serves as an atonement and one key lyric sets the tone for the short film: “nobody wins when the family feuds.” Of course, he is referring to his familial relationships, but it goes beyond that and applies it to feuding within the country and the world. There’s layers of meaning in the short that starts off with a poignant James Baldwin quote and goes into a Godfather-meets-Game of Thrones scene, moments of war, moments reflecting today’s volatile political climate, and a group of empowering females looking to build a utopian rather than dystopian future.
DuVernay took to Twitter to share her thoughts, inspiration and behind-the-scenes photos from the video.
His niece Cherylann O’Garro, who announced the death, said his family did not yet know the cause.
In more than four decades at The Times, Mr. Charles photographed a wide range of subjects, from local hangouts to celebrities to fashion to the United Nations. But he may be best remembered for the work that earned him early acclaim: his photographs of key moments and figures of the civil rights era.
In 1964, he took a now-famous photograph, for Ebony magazine, of Malcolm X holding a rifle as he peered out of the window of his Queens home. In 1968, for The Times, he photographed Coretta Scott King, her gaze fixed in the distance, at the funeral of her husband, the Rev. Dr. Martin Luther King Jr.
Mr. Charles resisted being racially pigeonholed but also considered it a duty to cover the movement, said Chester Higgins, who joined The Times in 1975 as one of its few other black photographers.
“He felt that his responsibility was to get the story right, that the white reporters and white photographers were very limited,” Mr. Higgins, who retired in 2015, said in a telephone interview.
Even in New York, historically black neighborhoods like Harlem, where Mr. Charles lived, were often covered with little nuance, said James Estrin, a longtime staff photographer for The Times and an editor of the photojournalism blog Lens. But Mr. Charles, through his photography, provided readers a fuller portrait of life throughout those parts of the city, Mr. Estrin said.
“Few people on staff had the slightest idea what a large amount of New York was like,” he added. “He brought this reservoir of knowledge and experience of New York City.”
Exacting and deeply private, Mr. Charles came off as standoffish to some. But to others, especially many women, he was a supportive mentor.
“He’s going to give you the bear attitude, but if you look past that he was something else,” said Michelle Agins, who met Mr. Charles while she was a freelance photographer in Chicago and he was working in The Times’s bureau there.
The two reconnected when she joined The Times as a staff photographer in 1989.
“When you’re a new kid at The New York Times and you needed a big brother, he was all of that,” she said. “He was definitely the guy to have on your team. He wouldn’t let other people bully you.”
Mr. Charles took Ms. Agins under his wing, and she was not alone. “I’ve had many women photographers tell me that he stood up for them,” Mr. Estrin said.
That may be because Mr. Charles knew the hardships that came with belonging to a group that was underrepresented in the workplace.
At one Thanksgiving dinner decades ago, Ms. O’Garro said, he tearfully described the pain he felt on arriving at a New York City store for an assignment, only to be asked to come in through a back entrance. She added that while covering the civil rights movement in the South, he would often check the tailpipe of his vehicle for explosives.
Despite those obstacles, Mr. Charles went on to have a long career at The Times, covering subjects including celebrities like John Lennon and Muhammad Ali and New York institutions like the United Nations. In 1996, four of his photographs were included in an exhibition at the Museum of Modern Art on a century of photography from The Times.
Daniel James Charles (he later went by Donald or Don) was born in New York City on Sept. 9, 1938. His parents, James Charles and the former Elizabeth Ann Hogan, were immigrants from the Caribbean, Ms. O’Garro said.
After graduating from George Washington High School in Manhattan, he enrolled at the City College of New York as an engineering student before dropping out to pursue photography, although at the time it was just a hobby. He worked as a freelance photographer before joining The Times in 1964. He retired in 2007.
Mr. Charles never married and had no children. No immediate family members survive, though he was close with his three nieces and one nephew.
The study’s researchers reviewed over 800 local and national news pieces published or aired between January 2015 and December 2016, sampling major networks such as ABC, CBS, NBC, CNN, Fox News and MSNBC as well as major print publications such as The Washington Post, Wall Street Journal, New York Times, USA Today, Los Angeles Times and the Chicago Tribune.
The study — conducted by University of Illinois at Urbana-Champaign communications professor Travis L. Dixon — found that national news outlets were more likely to show black families as broken and dysfunctional while white families were depicted as possessing social stability.
These images are not only distorted, but contradict government data.
Dixon found that black families represented 59 percent of poor people portrayed in media, but actually only make up of 27 percent of Americans living in poverty. In contrast, white families only make up 17 percent of the poor representated in media, but make up 66 percent in reality. As far as criminal depictions go, black criminals represented 37 percent of the media’s criminals while only 26 percent of those arrested on criminal charges are black in real life. White criminals represented 28 percent the criminals portrayed in the media, but make up 77 percent of real life’s crime suspects.
The report argues that constant depictions of black people living in poor, welfare-dependent and broken homes due to absentee fathers has created a negative image of black families in general.
“This leaves people with the opinion that black people are plagued with self-imposed dysfunction that creates family instability and therefore, all their problems,” said Dixon.
Further, these depictions can affect black families on a systematic level. Dixon noted that the images can spark political rhetoric and the powerful buying into these narratives are what causes Congress to “gut social safety net programs,” bosses to implement harsher work and drug testing requirements and general disdain for welfare programs.
The study also notes that during the Great Depression, white families suffering from poverty were presented in the media as having run into “hard luck,” and that there were campaigns to “help them through tough times.”
However, over time, the media and political leaders have “worked to pathologize black families in the American imagination to justify slavery, Jim Crow, mass incarceration, widespread economic inequity and urban disinvestment — as well as to gain and maintain political and social power,” argues Nicole Rodgers, founder of Family Story.
And this effort has borne terrible fruit, according to Color of Change’s executive director, Rashad Robinson, who said, “There are dire consequences for black people when these outlandish archetypes rule the day: abusive treatment by police, less attention from doctors, harsher sentences from judges.”
Overall, the report concluded that in order to make real change in the news industry, stricter sourcing requirements will have to be implemented, journalists must be encouraged to provide social and historical context and the editorial standards process should include people of color.
The 22ndAmerican Black Film Festival (ABFF) will include an exciting lineup of film screenings, events and innovative programming, and will return to Miami from June 13-17, 2018. The week will include several new experiences, including Smartphone movie screenings, a master class on film financing, music-focused sessions and new networking opportunities for festival attendees. ABFF continues to be dedicated to introducing emerging content creators of African descent to the industry at large and is recognized as one of the leading film festivals in the world.
Actor Jay Ellis will serve as the 2018 ABFF Celebrity Ambassador. Annually, the festival showcases dynamic content by and about people of African descent from around the world and consists of five competitive categories: Narrative Features, Documentaries, Short Films, Web Series and Smartphone Originals. Submissions are now open and below is a list of film submission deadlines, Awards and direct submission links:
Colin Kaepernick made his truth known when he first decided not to stand for the national anthem. He had a lot of football left to play and a lot more money to make when he made his decision. It was late August, 2016. People who were anonymous in life had become famous in death. Philando Castile. Eric Garner. Alton Sterling. Freddie Gray. They were tragic symbols of a society that had taken a terribly wrong turn. As the anthem played ahead of the 49ers’ preseason game against the Texans, Kaepernick, San Francisco’s 28-year-old quarterback at the time, quietly took a seat on the bench.
It took two weeks for anyone from the media to ask him about it. Kaepernick explained that he was making a statement about inequality and social justice, about the ways this country “oppresses black people and people of color.”
“To me, this is bigger than football and it would be selfish on my part to look the other way,” he added. “There are bodies in the street,” he said then, “and people getting paid leave and getting away with murder.”
In the last 16 months, Kaepernick’s truth has been twisted, distorted and used for political gain. It has cost him at least a year of his NFL career and the income that should have come with it. But still, it is his truth. He has not wavered from it. He does not regret speaking it. He has caused millions of people to examine it. And, quietly, he has donated nearly a million dollars to support it.
For all those reasons—for his steadfastness in the fight for social justice, for his adherence to his beliefs no matter the cost—Colin Kaepernick is the recipient of the 2017 Sports Illustrated Muhammad Ali Legacy Award. Each year SI and the Ali family honor a figure who embodies the ideals of sportsmanship, leadership and philanthropy and has used sports as a platform for changing the world. “I am proud to be able to present this to Colin for his passionate defense of social justice and civil rights for all people,” says Lonnie Ali, Muhammad’s widow. “Like Muhammad, Colin is a man who stands on his convictions with confidence and courage, undaunted by the personal sacrifices he has had to make to have his message heard. And he has used his celebrity and philanthropy to the benefit of some of our most vulnerable community members.”
Previous Legacy winners—including Bill Russell, Kareem Abdul-Jabbar, Jim Brown, Jack Nicklaus and Magic Johnson—were deserving. But no winner has been more fitting than Kaepernick. Ali lost more than three years of his career for his refusal to serve in the military in opposition to the Vietnam War. Kaepernick has lost one year, so far, for his pursuit of social justice.
When Kaepernick first protested during the national anthem, he could not have envisioned the size and duration of the ensuing firestorm. But he knew there would be fallout. So much has changed in America since the summer of 2016, and so many words have been used to describe Kaepernick. But his words from his first explanation remain his truth:
“This is not something that I am going to run by anybody. I am not looking for approval. I have to stand up for people that are oppressed. … If they take football away, my endorsements from me, I know that I stood up for what is right.”
Kaepernick kept his job for a season before being blackballed by the NFL—and yes, he has been blackballed. This should be obvious by now. Scott Tolzien, Cody Kessler, Tom Savage and Matt Cassel have thrown passes in the league this year, yet nobody has tried to sign Kaepernick, who is fifth in NFL history in touchdown-to-interception ratio. Kaepernick has been called a distraction, which is laughable— his coach last year, Chip Kelly, says there was “zero distraction,” and his 49ers teammates said the same. Most NFL players would rather be “distracted” by Kaepernick than try to tackle the guy who just intercepted Brock Osweiler.
Kaepernick has paid a price beyond missing games and losing paychecks. He has been battered by critics who don’t want to understand him. Some say Kaepernick hates America; he says he is trying to make it better. Others say he hates the military, but on Sept. 1, 2016, as the then-San Diego Chargers played a tribute to the military on the stadium videoboard, Kaepernick applauded.
Nobody claims Kaepernick is perfect. Reasonable, woke people can be upset that he did not vote in the 2016 election. But the Ali Legacy Award does not honor perfection, and the criticisms of Kaepernick are misguided in one fundamental way: They make this story a referendum on Kaepernick. It was never supposed to be about him. It is about Tamir Rice and the world’s highest incarceration rate and a country that devalues education and slides too easily into violence.
When Ali was drafted into the military in 1967 and refused to report, much of the country disapproved. Ali explained his refusal by saying: “Why should they ask me to put on a uniform and go 10,000 miles from home and drop bombs and bullets on brown people in Vietnam after so-called Negro people in Louisville are treated like dogs and denied simple human rights?”
Time ultimately shined a softer light on Ali. For the last 40 years of his life, Ali was arguably the most popular athlete in American history. But in the late 1960s, he was deeply unpopular and his future was uncertain.
Ali was 25 when he was banned from boxing and 28 when he returned to the sport. Boxing historians sometimes wonder what he would have done in those prime years. But Ali did not look at it that way. Instead of focusing on the piece of his career that he lost, he talked about what he had gained: a sense of self, and of purpose, greater than he could ever find in the ring. He risked prison time. He did not know if he would ever be allowed to fight again. But he knew he was clinging to his truth. As Ali later toldSI’s George Plimpton: “Every man wonders what he is going to do when he is put on the chopping block, when he’s going to be tested.”
Someday, America may well be a better place because of Colin Kaepernick. This is hard to see now— history is not meant to be analyzed in real time. But we are having conversations we need to have, and this should eventually lead to changes we need to make. Police officers, politicians and citizens can work together to create a safer, fairer, more civil society. Kaepernick did not want to sacrifice his football career for this. But he did it anyway. It is a rare person who gives up what he loves in exchange for what he believes.