It might seem like she has the Midas touch, but Issa Rae knows it’s not always that easy to make magic happen and become a success, so she’s making sure to help others who are following in her path.
“I get irritated when others are in a position where they can help others and they don’t pay it forward,” Issa told Sister 2 Sister. “I think that’s the most important part.”
The The Misadventures of Awkward Black Girl creator is putting actions behind those words with Color Creative, an initiative that gives “great writers of color a platform and an audience.”
First, the brainchild of Jahmela Biggs, is one of the projects Issa is supporting. It’s a Webseries about falling in love.
“I really, really liked it. It has ‘90s sensibilities in the way that I enjoyed Love Jones so much and it reminded me a lot of it,” the Exhale co-host said. The third episode of the Web series premieres Wednesday on Issa’s YouTube channel.
In addition to creating and supporting Webseries and co-hosting Exhale on Aspire, Issa said she’s also working on a book, a collection of essays. As if that’s not enough, she’s still in the process of producing a series for HBO.
It may seem like Issa mapped an uncharted road to success intentionally, by launching the Awkward Black Girl series years ago, but she said her rise to the top was sort of unexpected.
“I wish it was part of my master plan. I wish I was that smart,” she said. “I’m just taking it in stride. I was very surprised at how fast it did take off. You just don’t expect that magnitude. I never expected to have all these opportunities continue and that’s what I’m most appreciative for,” she said, thanking her fans.
“I have a ridiculously supportive viewership and fan base. They’re so dedicated to our success and I love that,” she said.
article by Tracy Scott via s2smagazine.com
Posts published in “Entertainment”
The Queen Latifah-produced scripted series Single Ladies has found new life on Centric, BET’s sibling cable channel. Centric has ordered a fourth season of the romantic comedy series, created and executive produced by Stacy A. Littlejohn, which previously aired on VH1, as part of a larger content development pact with Latifah’s Flavor Unit Entertainment. Centric will also carry repeats of Latifah’s daytime syndicated talk show.
“We are thrilled to be working once again with Flavor Unit Entertainment and Queen Latifah. She does it all and we are happy to have her join us as a creative force as we continue to grow Centric into a premiere destination for African American women,” said BET Networks chairman-CEO Debra Lee.
The Single Ladies pickup was the centerpiece of Centric’s portion of BET Networks’ upfront presentation announcement in Los Angeles Tuesday. Flavor Unit, run by Latifah and partner Shakim Compere, is already in business with BET as the producer of the scripted comedy “Let’s Stay Together.”
article by Cynthia Littleton via Variety.com
According to huffingtonpost.com, Lupita Nyong’o has accomplished another fashion feat. The ink has barely dried on her historic Lancôme Beauty Ambassador deal, and the Academy Award-winning star has landed one of Marie Claire’s five May covers, along with fellow actresses Elle Fanning, Kate Mara, Emilia Clarke and Elizabeth Olsen.
The actresses looked radiant Tuesday night in Hollywood while celebrating the glossy’s “Fresh Faces” issue. Both Elle and Kate opted for bold red-hued cocktail dresses, while Lupita turned heads in a light gray-and-blue floral embroidered Giambattista Valli frock. And Lupita’s showstopping look was further heightened by her fabulous new hairdo.
The 12 Years a Slave star has transformed her faded cut with a fake widow’s peak, Afro puffs, and dazzling headbands in the past. However, Tuesday night Lupita upped the ante by donning a faux mohawk/pompadour.
article by Lori Lakin Hutcherson
If you’re of a certain age you may remember the unapologetically silly Police Academy movies — a comedy series which dominated the 1980s. Now, rumor has it, Comedy Central stars Keegan Michael Key and Jordan Peele may produce a repeat of the beloved franchise.
According to Variety, New Line Cinema wants to reboot the films, nearly all of which starred Steve Guttenberg and featured Bubba Smith and Michael Winslow in supporting roles. Winslow, whose character Sgt. Larvelle “Motor Mouth” Jones famously used vocal sound effects to play pranks and fool his foes, was a particular fan favorite.
No word yet on whether he, or any of the original stars, will be back for a new iteration.
article via thegrio.com
30 Rock veteran Tracy Morgan is returning to primetime in a new comedy for FXX. According to Deadline.com, the network has given a straight-to-series order to the project from It’s Always Sunny In Philadelphia creators Rob McElhenney, Charlie Day and Glenn Howerton and Sunny writer Luvh Rakhe.
This is a brand new concept unrelated to Death Pact, the comedy pilot FX recently produced, from writers Rob Long and Tad Safran, which starred Morgan as a formerly lazy, pot-dealing assistant high school coach who returns to his hometown as a decorated war hero.
McElhenney, Day and Howerton approached Morgan about working with tem in January, with the discussions leading to the new series, reports Deadline. While there had been no formal pass on Death Pact, some cast members already have booked new gigs.
article via eurweb.com
Lupita Nyong’o is having a banner year. Almost a month after winning the Academy Award, Nyong’o has landed a big-time beauty endorsement deal with Lancôme and is now the new face of the cosmetics line. The deal marks a milestone moment that acknowledges Nyong’o as the beauty brand’s first black ambassador.
“I am truly honored to join the Maison Lancôme, a brand with such a prestigious history and that I have always loved,” the 31-year-old said in a statement. “I am particularly proud to represent its unique vision for women and the idea that beauty should not be dictated, but should instead be an expression of a woman’s freedom to be herself.”
The Hollywood “It” girl now joins a roster of other big celebrities who have signed on as a Lancome brand ambassador, such as Kate Winslet, Julia Roberts and Penelope Cruz.
But perhaps the more significant league of women Nyong’o now joins is the small but growing group of black women whose beauty has also attracted the lure of billion-dollar cosmetic companies.
Halle Berry was one of the most notable women to first land a lucrative beauty endorsement in 2004 – a deal she made shortly after winning the Oscar that year. Beyoncé, Queen Latifah, Janelle Monae, Rihanna, Kerry Washington and Gabrielle Union are just a few other names of beautiful black women who have signed on to similar deals.
These women represent a growing number of African-American females whose allure has advocated for these brands’ premiere products. Nyong’o is now one of these few yet celebrated women. She has been praised for her delectable taste in fashion and stunning looks which reflect a unique combination often not seen nor praised enough in mainstream America.
article by Lilly Workneh via thegrio.com
The spark of rebellion, the kind that makes a man stand up and fight, has almost been extinguished in Walter Lee Younger. As portrayed by Denzel Washington in Kenny Leon’s disarmingly relaxed revival of Lorraine Hansberry’s A Raisin in the Sun — which opened on Thursday night at the Ethel Barrymore Theater — Walter appears worn down, worn out and about ready to crawl into bed for good. Frankly, he looks a whole lot older than you probably remember him.
That’s partly because, at 59, Mr. Washington, the much laureled movie star, is about a quarter of a century older than the character he is playing, at least as written. (This production bumps Walter’s age up to 40 from 35.) But it’s also because, as this production of Raisin makes clearer than any I’ve seen before, Walter inhabits a world that ages men like him fast.
Listen to how his mama, Lena (LaTanya Richardson Jackson), describes her late husband’s existence: “I seen him, night after night, come in, and look at that rug, and then look at me, the red showing in his eyes, the veins moving in his head. I seen him grow thin and old before he was 40, working and working like somebody’s horse.”
In this engrossingly acted version of Hansberry’s epochal 1959 portrait of an African-American family, Walter is all too clearly his father’s son. Lena may tell him, shaking her head, that he is “something new, boy.” But you know that her great fear is that he is not. Small wonder she shows such smothering protectiveness to Walter’s 11-year-old son, Travis (Bryce Clyde Jenkins).
A claustrophobic fatigue pervades the cramped, South Side Chicago apartment in which A Raisin in the Sun is set. And despite its often easygoing tone, a happy ending feels far from guaranteed. As designed by Mark Thompson, the Youngers’ living room cum kitchen is a narrow corridor that keeps its three generations of inhabitants in close, erosive proximity.
The production begins with a searing vision of bone-weariness. Ruth Younger (Sophie Okonedo), Walter’s wife, stands frozen center stage in a bathrobe, amid sallow morning light. Her face is harrowed, and her arms are braced against the kitchen counter in what is almost a crucifix position. She is trying to find the strength to get through another day.
Mr. Leon relaxes that initial tautness for the scene that follows, in which the Youngers — who also include Walter’s sister, Beneatha (a first-rate Anika Noni Rose), a pre-med student — go through their usual morning rituals. And the play as a whole has a genial, conversational quality; it always holds you, but without trying to shake you.
Still, that opening scene strikes a note that will resonate. Exhaustion is pulling at the Youngers like a dangerous force of gravity. As Hansberry puts it in her stage directions, “Weariness has, in fact, won in this room.”
According to Variety.com, Toni Braxton will star as singer Darlene Love in OWN’s biopic of the famed pop vocalist. My Name is Love: The Darlene Love Story is slated for a December premiere, and the telefilm revolves around Love’s long career in the music industry, starting out as the key voice behind Phil Spector’s Wall of Sound hits from the 1960s. OWN’s first scripted movie was brought to the network by Morgan Neville, the documentarian who was behind last year’s Academy Award-winning feature, Twenty Feet from Stardom, about Love and other well-known backup singers.
OWN has also announced it’s set Octavia Spencer to star in a miniseries revolving around a journalist investigating the notorious mass murder and cover-up in Tulsa, Oklahoma in 1921. Tulsa comes from drama veteran (and Oklahoma native) Nancy Miller (TNT’s Saving Grace).
Additionally, OWN has ordered 20 more episodes of Tyler Perry’s hit primetime soap The Haves and the Have Nots, bringing it to 56 episodes to air through 2015. A new Perry drama series, Single Mom’s Club, is set for a fall debut with a 20-episode order.
Justin Timberlake is lined up as the first guest on the new season of Oprah Winfrey’s interview series Oprah’s Master Class, to premiere May 11. Another programming tentpole planned for next year is the seven-part documentary series Belief, examining the origins of faith “through the eyes of believers.”
Michael Strahan is in negotiations to join ABC’s Good Morning America. Strahan will remain cohost with Kelly Ripa of Live with Kelly and Michael, the Disney-distributed syndicated morning show. He’s expected to join the GMA ensemble in the studio a couple of times a week.
Strahan, a former NFL player, is also an analyst on Fox’s NFL Sunday. He was a surprise choice to fill Regis Philbin’s shoes opposite Ripa on Live in the fall of 2012. Since then, he’s been widely praised for his warmth and versatility on-air. The Disney parentage of Live and ABC makes it feasible for him to shuttle between the two morning shows.
Sources said GMA’s discussions with Strahan have been going on for months and are not tied to Josh Elliott’s recent departure for NBC Sports.
article via Variety.com
Nobody can agree on who invented the blues or birthed rock & roll, but there is no question that house music came from Frankie Knuckles, who died Monday afternoon of as-yet-undisclosed causes at age 59. One of the Eighties and Nineties’ most prolific house music producers and remixers, Knuckles is, hands down, one of the dozen most important DJs of all time. At his Chicago clubs the Warehouse (1977-82) and Power Plant (1983-85), Knuckles’ marathon sets, typically featuring his own extended edits of a wide selection of tracks from disco to post-punk, R&B to synth-heavy Eurodisco, laid the groundwork for electronic dance music culture—all of it.
Knuckles made an abundant number of dance classics, including early Jamie Principle collaborations “Your Love“(1986) and “Baby Wants to Ride“(1987); “Tears“(1989), with Satoshi Tomiie and Robert Owens; “The Whistle Song“(1991); and his remixes of Chaka Khan’s “Ain’t Nobody“(1989), Sounds of Blackness’s “The Pressure” (1992), and Hercules and Love Affair’s “Blind” (2008).
http://youtu.be/rd0Zo1WAk5I
Born Francis Nicholls in the Bronx on January 18, 1955, Knuckles began hitting New York’s after-hours spots such as the Loft, the Sanctuary, Better Days, and Tamburlaine—the clubs where disco was born—as a teenager, along with his best friend, Larry Philpot. By the mid-Seventies, both of them were DJs themselves, and Philpot had changed his surname to Levan. The duo worked together at two of the most important early discos: the Gallery (presided over by Nicky Siano, whose smooth on-beat mixing style was enormously influential) and the Continental Baths, a multi-room gay bathhouse on Manhattan’s West Seventy-fourth Street. (Two other entertainers got their start there: Bette Midler and her pianist, Barry Manilow.)
By 1977, both started their own clubs in difference cities. While Levan (who died in 1992) helmed the Paradise Garage in Soho, Knuckles moved to Chicago, where Robert Williams, an old friend of both, was opening what became the Warehouse. A narrow building with oblong windows at 206 South Jefferson St. (today it’s a law office), the Warehouse was where Knuckles began honing his sound and style—”a wide cross-section of music,” as he told The Guardian in 2011. His mélange of disco classics, weird indie-label soul curiosities, the occasional rock track, European synth-disco and all manner of rarities would eventually be codified (at Importes, Etc., the record shop where Knuckles bought much of his music) as “House Music”—short, of course, for the Warehouse. (In 2004, the block where the Warehouse stood was renamed Honorary Frankie Knuckles Way.)