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Dr. Dre is Forbes’ Highest-Paid Hip-Hop Act at $620 Million for 2014

Dr. DreDr. Dre tops Forbes list of highest-paid hip-hop acts with a total of $620 million earned this year. This is the most money ANY entertainer that has been evaluated by the magazine has earned in one calendar year.
What makes this even more incredible is that Dr. Dre alone made more than all 24 of the people combined on the 2014 list.  Two second-place entries, both tied at $60 million, made 10% of what Andre “Dr. Dre” Young did. But, with that total, Shawn ‘Jay Z’ Carter and Sean ‘Diddy’ Combs won’t be cashing any unemployment checks any time soon.
Cash Money claims a large stake in the money game as well, with Drake in fourth place at $33 million, Birdman (Co-CEO of Cash Money) at No. 7 with $24 million, Lil Wayne a hair behind him with $23 million and Nicki Minaj, the only female artist on the list, at No. 11, with $14 million.
The complete “World’s Highest-Paid Hip-Hop Acts” list follows:
1. Dr. Dre: $620 million
2. Sean Combs: $60 million
2. Jay Z: $60 million
4. Drake: $33 million
5. Macklemore & Ryan Lewis: $32 million
6. Kanye West: $30 million
7. Birdman: $24 million
8. Lil Wayne: $23 million
9. Pharrell Williams: $22 million
10. Eminem: $18 million
11. Nicki Minaj: $14 million
12. Wiz Khalifa: $13 million
13. Pitbull: $12 million
14. Snoop Dogg: $10 million
15. Kendrick Lamar: $9 million
16. Ludacris: $8 million
16. Tech N9ne: $8 million
16. Swizz Beatz: $8 million
16. 50 Cent: $8 million
20. Rick Ross: $7 million
20. J. Cole: $7 million
20. DJ Khaled: $7 million
20. Lil Jon: $7 million
20. Mac Miller: $7 million
article by Cedric “Big Ced” Thornton via blackenterprise.com

Black Shopping Channel CEO Cleveland Gary Signs $125 Million Deal to Expand TV Viewership

Black Shopping Channel CEO Cleveland Gary

The Black Shopping Channel has announced the successful completion of a deal worth $125 million to expand TV viewership via Comcast, DirecTV, and Time Warner.

Currently, Black Shopping Channel can be seen on Dish Network. As of now, the financing structure is a combination of debt and equity in affiliationBSC with the New York Stock Exchange bank.  CEO Cleveland Gary states that, “The added $125 million to the company’s balance sheet raises the Black Shopping Channel’s market value to a $700 million dollar company and growing.”
Other sources are anticipating 200,000,000 monthly visitors by the end of 2015 for the Black Shopping Channel via their website at www.blackshoppingchannel.com.
The site enables Black business owners to own a free virtual store used to promote and advertise their products and give their business exposure to the high volume of monthly shoppers. Right now, BSC (Black Shopping Channel) is the only Urban television shopping channel that promotes products from Black and small business owners from all over the country. This channel alone is broadcast over national television, seen on DISH Network, cable, and FTA access, as well as 20,000,000 homes throughout the United States.  With this new deal, more people will learn about Black-owned businesses as more small businesses and their products get more exposure.
We will be exposed to more infomercials about black products and services.  So far, blackshoppingchannel.tv can be seen on 16 different network channels. If you want to learn more about how you can get your hands on Black-owned businesses, services, and products, click here at http://www.blackshoppingchannel.com/
article by Joshua D. Copeland via thereelnetwork.net

Denzel Washington’s "The Equalizer" Scores With $36 Million Debut

The Equalizer

Denzel Washington still has plenty of firepower at the box office as his latest action film “The Equalizer” looks to be heading to an opening weekend in the $35-$37 million range.With $12.6 million on Friday from 3,236 locations, the Sony release is performing significantly better than the studio’s initial estimates of an opening in the high-$20 millions. That’s the best opening ever for director Antoine Fuqua and one of Washington’s top debuts as well.Produced for $55 million by Columbia Pictures, LStar Capital and Village Roadshow Pictures, “The Equalizer” also benefited from a glowing A- Cinemascore.

The weekend’s other wide opener, “The Boxtrolls” from Focus Features and Laika, took $4.93 million on Friday heading for a weekend of $16 million, which is in line with expectations. The stop-motion animated film opened in 3,464 locations.
Fox’s “The Maze Runner” will fight it out with “Boxtrolls” for the no. 2 spot. The young adult sci fi pic took $5 million Friday for a weekend also in the $16 million range, putting its cume after two weeks near $57 million.
Warner Bros. “This is Where I Leave You” took in another $2.2 million Friday for a possible $7 million weekend, heading to a $22 million cume in its second week.
A pair of pics in their third weekend should top last week’s opener “Walk Among the Tombstones” — Screen Gems “No Good Deed” is hanging in there with $1.35 million Friday for a projected $4.5 million weekend, finishing with a $46.5 million cume by Sunday, while Warner Bros. “Dolphin Tale 2″ took $1.26 Friday for a weekend total of about $5 million.
article by Pat Saperstein via variety.com

Viola Davis Drama "How to Get Away With Murder" Debuts Strongly for ABC

How to Get Away with Murder

Thursday was a very big night for Shonda Rhimes and ABC, with the latest show executive produced by the “Grey’s Anatomy” and “Scandal” creator — “How to Get Away With Murder” — opening with the largest young-adult audience for any new series this fall.

ABC was strong on two-thirds of Thursday a year ago, but the addition of “Murder” helped cap a lineup — branded by the network as “TGIT” (Thank God It’s Thursday) — that dominated last night among women and will place a strong second overall to CBS/NFL Network’s “Thursday Night Football” in 18-49, 25-54 and total viewers. The Alphabet dramas were the night’s top three entertainment series in the key 18-49 and 25-54 demos as well as total viewers and the net had its best Thursday to open a season in five years.
According to preliminary national estimates from Nielsen, “How to Get Away With Murder” averaged a big 3.8 rating/11 share in adults 18-49 and 14 million viewers overall in the 10 o’clock hour, matching in 18-49 its strong lead-in from “Scandal” (3.8/11 in 18-49, 11.9 million viewers overall), which opened with a series high. Skewing a little older than “Scandal,” “How to Get Away With Murder” built slightly on its lead-in in 25-54 (4.4 vs. 4.3) while adding about 2 million total viewers.
The Viola Davis-fronted “Murder” performed nearly 10% better in 18-49 than last year’s second hour of the “Grey’s Anatomy” season opener, which aired on the Thursday of premiere week, and it also exceeded the “Scandal” season premiere in Week 2 of last season (3.6).
Among all series premieres this fall, “How to Get Away With Murder” ranks best in adults 18-49 — besting the 3.3 for ABC’s “Blackish” on Wednesday and Monday’s dramas premieres of “Scorpion” on CBS and “Gotham” on Fox (both 3.2).  In adults 25-54, “Murder” is neck and neck with “Scorpion” and “Blackish” as fall’s best debut.
“Grey’s Anatomy” opened the night for ABC (3.0/10 in 18-49, 9.8 million viewers overall), shifting to the 8 o’clock hour and placing second to football. Though down in 18-49 as expected from its two-hour, 9-11 p.m. debut of last year (3.4), it outperformed its final 11 episodes from last season while also delivering the show’s largest overall audience in nearly two years (since October 2012).
article by Rick Kissell via variety.com

The New York Times Apologizes to Shonda Rhimes

Screen Shot 2014-09-23 at 11.54.48 AM
In the words of Omar from The Wire“you come at the king, you best not miss.” The New York Times came for the queen, that would be the one and only Shonda Rhimes, and they missed royally and now they must pay – which in this day and age means publicly apologize.
Let us recall the chain of events shall we? Alessandra Stanley wrote an article in The New York Times where she called Rhimes an “angry Black woman” in the opening sentence. Rhimes called Stanley out on Twitter, not only for the mislabel, but for also having her facts all the way wrong. Times readers then demanded an apology from the newspaper and called the article racist. So, then came an apology. Only, it took the form of the typical ‘I’m sorry, not sorry’.
The New York Times’ public editor Margaret Sullivan first issued a broad apology and said she would investigate the matter further.
Sullivan then amended the statement and provided information she received about the article from culture editor, Danielle Mattoon.

Early Monday afternoon, I spoke to the culture editor, Danielle Mattoon. She told me that arts and culture editors are well aware of the response to the piece, and she offered words of regret, as well as an explanation and a resolution for the future. “There was never any intent to offend anyone and I deeply regret that it did,” Ms. Mattoon said. “Alessandra used a rhetorical device to begin her essay, and because the piece was so largely positive, we as editors weren’t sensitive enough to the language being used.” Ms. Mattoon called the article “a serious piece of criticism,” adding, “I do think there were interesting and important ideas raised that are being swamped” by the protests. She told me that multiple editors — at least three — read the article in advance but that none of them raised any objections or questioned the elements of the article that have been criticized. “This is a signal to me that we have to constantly remind ourselves as editors of our blind spots, what we don’t know, and of how readers may react.”

So what we have here is Mattoon essentially saying: well we tried and we didn’t know it would get a negative reaction because nobody told us and we clearly don’t have any common sense on race issues and there are no people of color in the newsroom who could have helped us out with this and don’t blame us because there’s still good stuff in the article.
Stanley didn’t do much better with her apology. She wrote:

In the review, I referenced a painful and insidious stereotype solely in order to praise Ms. Rhimes and her shows for traveling so far from it. If making that connection between the two offended people, I feel bad about that. But I think that a full reading allows for a different takeaway than the loudest critics took.

A full reading? Does Stanley think that people only read the first sentence calling Rhimes an “Angry Black Woman,” got so angered they could read no further, but still complained anyway? Yeah, ok. The article was tone-deaf and so is the apology.
At least Sullivan noted:

I still plan to talk to Mr. (Dean) Baquet (executive editor) about the article, its editing, and about diversity in the newsroom, particularly among culture critics. The Times has a number of high-ranked editors and prominent writers who are people of color, but it’s troubling that among 20 critics, not one is black and only one is a person of color.

Well it seems we have gotten to the core of the issue, there aren’t any Black critics who could have checked this whole thing so it wouldn’t have to get this far. But instead, Rhimes and African-American readers and viewers had to take matters into their own hands just to receive a sorry apology. Hopefully, the next step will be to truly diversify the newsroom which will hopefully lead to more content and context within published stories.
article Diana Veiga via clutchmagonline.com

Earliest Surviving Footage for a Feature Film with a Black Cast to Be Exhibited by Museum of Modern Art

Footage from what may be the earliest surviving feature film with a black cast, made in 1913. (Credit: Bert Williams, “Lime Kiln Field Day Project”, via Museum of Modern Art)

For decades, the seven reels from 1913 lay unexamined in the film archives of the Museum of Modern Art. Now, after years of research, a historic find has emerged: what MoMA curators say is the earliest surviving footage for a feature film with a black cast. It is a rare visual depiction of middle-class black characters from an era when lynchings and stereotyped black images were commonplace. What’s more, the material features Bert Williams, the first black superstar on Broadway. Williams appears in blackface in the untitled silent film along with a roster of actors from the sparsely documented community of black performers in Harlem on the cusp of the Harlem Renaissance. Remarkably, the reels also capture behind-the-scenes interactions between these performers and the directors.

MoMA plans an exhibition around the work called “100 Years in Post-Production: Resurrecting a Lost Landmark of Black Film History,” which is to open on Oct. 24 and showcase excerpts and still frames. Sixty minutes of restored footage will be shown on Nov. 8 in the museum’s annual To Save and Project festival dedicated to film preservation.

“There are so many things about it that are amazing,” said Jacqueline Stewart, a film scholar at the University of Chicago. “It’s the first time I’ve seen footage from an unreleased film that really gives us insights into the production process.”

She added: “It’s an interracial production, but not in the way scholars have talked about early film history, in which black filmmakers had to rely on the expertise and money of white filmmakers. Here, we see a negotiation between performers and filmmakers.” Of the three directors of the film, one was black and two were white.

"For Colored Girls" 40th Anniversary Commemorated In New York Art Exhibition

ntozake_shangeCommemorating the 40th anniversary of Ntozake Shange’s groundbreaking choreopoem For Colored Girls is an introspective exhibition, i found god in myselfwhich is kicking off the fall season at The New York Public Library’s Schomburg Center for Research in Black Culture from Sept. 19 to January 2015.  Her work i found god in myself explores issues of femininity and gender, love and loss, empowerment and sisterhood.

Since its debut performance in California in 1974, Shange’s work has captivated, provoked, inspired and transformed audiences all over the world. Since, the work has remained a cornerstone of feminist, black, and LGBTQ-theory studies in colleges and theaters alike, both in the United States and abroad.
Shange is a past recipient of the The Women of Power Legacy Award, which recognizes outstanding impact, achievement and leadership by women in business, the arts, education, government and other influential industries. Black Enterprise recognized Shange in 2011 for her body of work as a playwright, poet, and self-proclaimed feminist who addressed issues relating to race and gender.
Turning to the choreopoem not simply as an engaging work of text or drama but as a well of social, political and deeply personal issues affecting the lives of women of color, the New York exhibition will feature 20 specially commissioned pieces in honor of each individual poem, additional non-commissioned artworks on display at satellite locations that address the work’s themes and archival material donated by Shange. The exhibition’s title is drawn from one of the last lines recited in the finale poem a laying on of hands. The title suggests that navigating through the complexities of what it means to be of color and female is only enlightened by an understanding, acceptance and appreciation of self. With self-empowerment comes the process of  “…moving to the ends of their own rainbows.”

Kerry Washington Stars in "Purple Purse" PSA to Help Victims of Domestic and Financial Abuse (VIDEO)

Women In Film 2014 Crystal + Lucy Awards Presented By MaxMara, BMW, Perrier-Jouet And South Coast Plaza - Show
Olivia Pope may strike fear in the hearts of corrupt politicians in D.C., but it’s Kerry Washington who is the gladiator in real life. This week, she’s bringing attention to the important issue of financial abuse.
What’s financial abuse, you ask? As Love is Respect explains, it is a form of dating abuse and domestic violence that can often be very subtle. This, however, is what you really need to know: “At no point does someone you are dating have the right to use money or [dictate] how you spend it to control you.”
In her PSA for the initiative, Washington notes how “one in four women will be a victim of domestic violence.” She goes on to explain how finances are often “a weapon of choice.” This can include taking away access to cash or destroying someone’s credit.
[youtube https://www.youtube.com/watch?v=2yy7d3uf7qw&w=560&h=315]
As an Allstate Foundation Purple Purse Ambassador, Washington designed a bag for the “Purple Purse” initiative. Why purple? It’s the color often associated with domestic violence awareness. And why design a purse? Washington said the purse is symbolic because that’s where you keep everything that is important to you.
According to the Purple Purse website, Washington says she is “extremely proud to wear it (her purse) and to know that it will increase awareness and create conversations around this important issue.”
So how can you help Kerry and her cause? When you donate at least $10 to any organization in the Purple Purse Challenge, you’ll have a chance at winning one of the purses Washington designed.
article by Claire Biggs via act.mtv.com

Tia Mowry-Hardrict and Michael Boatman Comedy ‘Instant Mom’ Renewed by Nickelodeon For 3rd Season

Instant Mom Renewed Season 3

Breakout Nick at Nite/NickMom family comedy series Instant Mom has been picked up for a 20-episode third season ahead of its second-season premiere on October 2, when it will debut in its new Thursday 8 PM time slot on Nick at Nite. The multi-camera series stars Tia Mowry-Hardrict as Stephanie, a former party girl who becomes a full-time stepmom to three kids when she marries the more traditional Charlie (Michael Boatman). “Instant Mom has proven to be the perfect breakout series for families to enjoy together on Nick at Nite,” said Russell Hicks, Nickelodeon’s President of Content Development and Production.

The pre-emptive Season 3 renewal is the latest vote of confidence to Instant Mom, which also received an order for seven additional episodes before its series premiere. The latest pickup brings the show’s episode total to 66 episodes. Season 1 posted double-digit year-to-year growth and drew 1.2 million total viewers. Additionally, the series launch of Instant Mom on the adult-targeted NickMom nighttime comedy block on the Nick Jr. channel was the block’s highest-rated premiere ever with women 18-49 and total viewers.
Instant Mom is executive-produced by Howard Michael Gould, Aaron Kaplan of Kapital Entertainment and Regina Hicks. The series’ cast also includes Sheryl Lee Ralph, Sydney Park, Tylen Jacob Williams and Damarr Calhoun.
article by Nellie Andreeva via deadline.com

Lupita Nyong'o Stops By "Sesame Street" to Talk About the Beauty of All Types of Skin

skin-lupita-nyongo
Academy Award winner and Lancôme Beauty Ambassador Lupita Nyong’o stopped by “Sesame Street” to talk to Elmo about the importance and beauty of skin.
“Elmo’s skin just happens to be very ticklish. Lupita’s skin happens to be a beautiful brown color. Skin can come in all different shades and colors. Isn’t skin just the best? However, ticklish or smooth or black or brown or white or tan, be sure to love the skin you are in.”
See video below:
[youtube https://www.youtube.com/watch?v=xIC2hHECZ6Y&w=560&h=315]
article via newsone.com