article by Julie Compton via nbcnews.com
The term “slay” has important meaning to out director Sean Torrington. “To kill it, to be the best of the best, to always be on top,” he told NBC Out. It’s also the name of the 36-year-old’s new global media network for LGBTQ people of color.
SlayTV is the brainchild of Torrington and his husband, Terry Torrington, also a director. He said it gives a platform to black LGBTQ storytellers whose voices mainstream media often ignores. It also allows them to make money so they can “keep on creating the dope content they create,” he explained.
Torrington started his career as a Goldman Sachs project manager. After getting laid off in 2010, he took the opportunity to follow his passion for filmmaking and began creating web series on YouTube that centered on LGBTQ people of color. He said it’s a community that rarely sees itself reflected in gay or mainstream media.
According to a 2016 GLAAD report, cable and streaming platforms predominantly depict LGBTQ characters that are white (72 percent and 71 percent, respectively, in the most recent TV season).
“People would come up to us and be like ‘Oh, where can we see more content like this? This is really revolutionary, this is great,'” Torrington said. “I was like …’We need one central location for queer [and] trans people of color television.'”
Shortly after, Torrington created an app that collects selected content about LGBTQ people of color from YouTube into a single platform. “We literally within a month got 20,000 downloads,” he said.
Posts published in “Entertainment”
article by Kristyn Burtt via dancenetwork.tv
Choreographer Dave Scott is well known for his work on So You Think You Can Dance and in films like High Strung, Step Up 2: The Streets, Stomp The Yard and You Got Served. He’s now tackling a new venture that is sure to bring a fresh spin on a musical theatre classic. Under the direction of Will North, Scott will be reimagining the choreography from Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat.
The family-friendly show will run Oct. 13-22, 2017 at the Cabrillo Music Theatre in Thousand Oaks, California, and focuses on the trials and triumphs of Joseph, Israel’s favorite son and his “coat of many colors” from the Bible’s Book of Genesis. Although Joseph and the Amazing Technicolor Dreamcoat was first performed in 1968, it didn’t have its Broadway debut until January 1982.
North explained to Dance Network about his initial idea to collaborate with the hip-hop choreographer.
“I wanted to do a contemporary version of the show while bringing in different genres of hip-hop — including krumping. Dave is the perfect person to execute that vision,” he explains.
For Scott, taking on the project was a natural fit as he looks to diversify beyond his work in TV and film. The idea of live theatre not only adds an unexpected element, it’s giving him a new way to communicate through his artistry.
“I’ve always approached television and film with the mentality of the stage. To achieve the ‘wows’ and ‘splendor’ with no edits or cuts,” Scott shares. “I personally and creatively imagine my work in cartoon, like a superhero. I always aspire to go beyond the non-boundaries of dance, and this is a perfect platform.”
In addition to the upcoming production, Scott will also be back this summer choreographing on Season 14 of SYTYCD and he recently completed the film, Manifest Destiny Down: Spacetime, which will be out in 2018 with Broadway star Alexandra Winter.
Source: Exclusive: Why ’SYTYCD’ Choreographer Dave Scott Is Tackling A Reimagined Andrew Lloyd Webber Classic | Dance Network
article via eurweb.com
A documentary about Leone Jacovacci, a black Italian boxer who discredited 20th century Italian dictator Benito Mussolini’s racist ideology by winning a European boxing title is making waves in Italy and abroad, reports Variety. “The Duce’s Boxer” tells the story of Jacovacci, an African Italian born in the Congo who won the 1928 European middleweight title by beating Mario Bosisio, a white Italian boxer supported by the country’s Fascist leaders, in front of 40,000 fans in Rome’s National Stadium.
Mussolini, outraged, then ordered Jacovacci and his achievement erased from Italy’s history books. But 89 years later, Jacovacci’s story has been resurrected. “The Duce’s Boxer” premieres today (March 21) in 25 Italian cities to mark the U.N. International Day for the Elimination of Racial Discrimination.
Based on the book “Black Roman” by Italian sociologist Mauro Valeri, a former head of the country’s National Xenophobia Observatory, “The Duce’s Boxer” is directed by first-timer Tony Saccucci. Saccucci used archive footage from Italian state film entity Istituto Luce and photos provided by Jacovacci’s family, according to Variety.
Saccucci found that footage of the title match had been tampered with by Fascist censors. Jacovacci’s story is reminiscent of American track-and-field athlete Jesse Owens’ feat when he won four gold medals at the 1936 Berlin Olympic Games, debunking Hitler’s creed of Aryan supremacy.
To read more, go to: New Documentary Details How a Black Italian Boxer Humiliated Mussolini | EURweb
article via thegrio.com
During this year’s CinemaCon Big Screen Achievement Awards, Jordan Peele will be presented with the CinemaCon Director of the Year Award for his 2017 blockbuster “Get Out.”
CinemaCon Managing Director, Mitch Neuhauser, announced the award on Monday saying, “With the phenomenon known as ‘Get Out,” Jordan Peele has instantaneously become a force to reckon with as a gifted and enormously talented director and filmmaker. He has audiences and critics around the globe enamored and spellbound, dare I say hypnotized, with his wildly inventive directorial debut, and we are ecstatic to be honoring him as this year’s ‘Director of the Year.’”
Peele will receive the award on March 30 at the ceremony at The Colosseum at Caesars Palace, hosted by the Coca-Cola Company. The official convention of The National Association of Theatre Owners (NATO) will be held on March 27-30, 2017, at Caesars Palace in Las Vegas.
Peele’s thriller has received widespread acclaim and excellent reviews since its debut, including a 99 percent fresh rating on Rotten Tomatoes.
To read original article, go to: Jordan Peele to receive CinemaCon Director of the Year Award | theGrio
article by Jon Pareles via nytimes.com
Chuck Berry, who with his indelible guitar licks, brash self-confidence and memorable songs about cars, girls and wild dance parties did as much as anyone to define rock ’n’ roll’s potential and attitude in its early years, died on Saturday. He was 90.
The St. Charles County Police Department in Missouri confirmed his death on its Facebook page. The department said it responded to a medical emergency at a home and Mr. Berry was declared dead after lifesaving measures were unsuccessful.
While Elvis Presley was rock’s first pop star and teenage heartthrob, Mr. Berry was its master theorist and conceptual genius, the songwriter who understood what the kids wanted before they knew themselves. With songs like “Johnny B. Goode,” “Maybellene” and “Roll Over Beethoven,” he gave his listeners more than they knew they were getting from jukebox entertainment.
His guitar lines wired the lean twang of country and the bite of the blues into phrases with both a streamlined trajectory and a long memory. And tucked into the lighthearted, telegraphic narratives that he sang with such clear enunciation was a sly defiance, upending convention to claim the pleasures of the moment. In “Sweet Little Sixteen,” “You Can’t Catch Me,” “Rock n Roll Music” and other songs, Mr. Berry invented rock as a music of teenage wishes fulfilled and good times. (The Beach Boys reworked his “Sweet Little Sixteen” into “Surfin’ U.S.A.” Mr. Berry sued them and won a songwriting credit.)
Born Charles Edward Anderson Berry on Oct. 18, 1926, in St. Louis, he grew up in a segregated, middle-class neighborhood there, soaking up gospel, blues, and rhythm and blues, along with some country music.He spent three years in reform school after a spree of car thefts and armed robbery.
He received a degree in hairdressing and cosmetology and worked for a time as a beautician; he married Themetta Suggs in 1948 and started a family. By the early 1950s, he was playing guitar and singing blues, pop standards and an occasional country tune with local combos. Shortly after joining Sir John’s Trio, led by the pianist Johnnie Johnson, he reshaped the group’s music and took it over.
From the Texas guitarist T-Bone Walker, Mr. Berry picked up a technique of bending two strings at once that he would rough up and turn into a rock ’n’ roll talisman, the Chuck Berry lick, which would in turn be emulated by the Rolling Stones and countless others. He also recognized the popularity of country music and added some hillbilly twang to his guitar lines. Mr. Berry’s hybrid music, along with his charisma and showmanship, drew white as well as black listeners to the Cosmopolitan Club in St. Louis.
In 1955, Mr. Berry ventured to Chicago and asked one of his idols, the bluesman Muddy Waters, about making records. Waters directed him to the label he recorded for, Chess Records, where one of the owners, Leonard Chess, heard potential in Mr. Berry’s song “Ida Red.”
A variant of an old country song by the same name, “Ida Red” had a 2/4 backbeat with a hillbilly oompah, while Mr. Berry’s lyrics sketched a car chase, the narrator “motorvatin’” after an elusive girl. Mr. Chess renamed the song “Maybellene,” and in a long session on May 21, 1955, Mr. Chess and the bassist Willie Dixon got the band to punch up the rhythm.
“The big beat, cars and young love,” Mr. Chess outlined. “It was a trend and we jumped on it.”
The music was bright and clear, a hard-swinging amalgam of country and blues. More than 60 years later, it still sounds reckless and audacious.
To read full article, go to: https://www.nytimes.com/2017/03/18/arts/chuck-berry-dead.html
article by Cynthia Littleton via variety.com
A&E Network will mark the 25th anniversary of the Los Angeles riots next month with a two-hour documentary from filmmaker John Singleton. “L.A. Burning: The Riots 25 Years Later,” set to debut April 18, tells the story of the civil unrest that shook the nation from the perspective of those who lived through a week of upheaval following a jury’s acquittal of four Los Angeles Police Department officers charged in the 1991 beating of African-American motorist Rodney King.
King’s arrest and savage treatment at the hands of veteran LAPD officers was caught on videotape by a local resident who gave the incendiary footage to KTLA-TV Los Angeles. KTLA’s coverage and airing of the nine-minute recording depicting cops kicking and beating King with batons while he was lying on the ground set off a firestorm of outrage and protest over the LAPD’s treatment of minorities.
The incident coincided with the dawn of the 24/7 news cycle fueled by the growth of cable news and the spread of home video recording technology.Singleton, a native of Los Angeles, was fresh out of USC film school and had just launched his career as a movie director with 1991’s Oscar-nominated “Boyz n the Hood” when the riots erupted on April 29, 1992, the day acquittals of the four officers were handed down by a nearly all-white jury.
Five days of violence and unrest left at least 55 people dead, more than 2,000 injured and inflicted more than $1 billion in property damage.“I believe the 1992 L.A. uprising has never truly been given a voice until now,” Singleton said. “We’ve attempted to chronicle the untold stories and unique perspectives of people whose lives were profoundly affected by this event. As a native Los Angeleno I know the actions of that three-day event didn’t just appear out of thin air. The city was a powder keg boiling at the seams for many years under police brutality and economic hardship of people of color.”
Among those featured in the documentary are actor-activist Edward James Olmos, police officers, rioters, bystanders caught in the crossfire and reporters who covered the upheaval. “L.A. Burning” hails from Entertainment One and Creature Films. The doc is directed by One9 and Erik Parker.
“L.A. Burning” is one of several TV productions in the works to mark the anniversary of the violence that shook Los Angeles and the world. Filmmaker John Ridley is behind the two-hour ABC special “Let It Fall: Los Angeles 1982-1992,” set to air April 28. On April 18, Showtime will air the documentary “Burn Mother—–r Burn!,” examining the history of racial tensions and rioting in Los Angeles.
To read full article, go to: A&E Network Sets Los Angeles Riots ‘25 Years Later’ Documentary From John Singleton (EXCLUSIVE) | Variety
article by Lori Lakin Hutcherson (@lakinhutcherson)
ASCAP, the American Society of Composers, Authors and Publishers, announced today that it will honor legendary musician Stevie Wonder with its inaugural “Key of Life” Award at this year’s ASCAP “I Create Music” EXPO in Los Angeles, April 13 – 15, where Wonder will also appear in a keynote “I Create Music” session.
The “Key of Life” Award celebrates Wonder’s incomparable, peerless contributions to the world through his music. In the future, the honor will be presented to songwriters and composers who best exemplify his legacy through their commitment to the art form he elevated through his talent, dedication and unparalleled heart.
“Stevie has deservedly been given every award imaginable,” said ASCAP President Paul Williams. “Yet he continues to innovate and elevate the art of songwriting to the point where no honor can truly capture what he means to his creative kin at ASCAP, and to songwriters and music lovers worldwide. This award has been created as a way to honor his singularly inspirational songwriting career and to recognize his spirit in generations to come.”
The 25-time Grammy winner has been an ASCAP member for the better part of five decades, amassing more than 60 Billboard Hot 100 hits during his time with the performing rights organization, including eternal anthems like “Superstition,” “My Cherie Amour,” “Signed, Sealed, Delivered I’m Yours,” “You Are the Sunshine of My Life” and “I Just Called to Say I Love You.” Wonder received ASCAP’s highest individual prize, the Founders Award, in 1984, and was honored during the organization’s 100th birthday celebrations with a once-in-a-lifetime Centennial Award.
Now in its 12th year, ASCAP’s “I Create Music” EXPO is the United States’ largest conference for songwriters, composers, artists and producers in all music genres. Last year’s conference was the most well attended in EXPO history, attracting 3,000 participants from up-and-comers to GRAMMY winners.
For more information on the ASCAP EXPO and to register for this year’s conference, visit: https://www.ascap.com/expo.
article by Kimberly Wilson via thegrio.com
The boys of “Moonlight” will be getting their moment.
Both 13-year-old Alex Hibbert and 12-year-old Jaden Piner, are slated to receive keys to the city of Miami Gardens, FL at this year’s Jazz in the Gardens Music Festival. The two students from Norland Middle School in Miami Gardens had starring roles in the Oscar-winning film “Moonlight,” with Alex playing young Chiron and Jaden playing Kevin, Chiron’s best friend.
“We think it’s a great opportunity for us to acknowledge what they’ve done at a young age, and tell them how proud we are of them,” shares Miami Gardens Mayor Oliver G. Gilbert III. “Because so often when you hear about young black kids, people don’t want to tell you the stories of these kids and areas that they excel in,” continues Mayor Gilbert. “We aren’t talking about them most times. Most times we’re talking about young black boys in a negative context, so anytime we get an opportunity to tell them how extraordinary they are, we will do it. And ‘Jazz In The Gardens’ is the biggest stage that we can offer in the city.”
The key ceremony will be just one highlight of the highly-anticipated weekend. As the staple event each year in the city of Miami Gardens, Jazz in the Gardens Music Festival is back for its 12th year, and is quickly growing beyond its borders. Hosted again by veteran comedian Rickey Smiley, the city can expect more than 70,000 music lovers from all over the United States and Caribbean Islands.
The festival will take place this upcoming weekend, March 17-19 at Hard Rock Stadium, featuring performances by Jill Scott, Esperanza Spalding, Common, and LLCoolJ.
To read more, go to: Young stars of Oscar-winning “Moonlight” to receive keys to the city of Miami Gardens | theGrio
article via shadowandact.com
JuVee Productions – the integrated film, television and digital production company created by Viola Davis and her husband, Julius Tennon, is embarking on an effort to raise $250,000,000 in a global expansion plan for the development, production and distribution of diverse and inclusive film and digital content.
The fund will be used to develop, finance, produce and distribute a slate of multiple feature films and branded digital content that will see the relatively young production company expand its footprint globally. “The shift in storytelling should be inclusive and we aim to make it a reality,” says Julius Tennon in a press statement.
Launched in 2012 by Davis and Tennon, JuVee Productions is a Los Angeles-based artist driven production company that develops and produces independent film, television, theater, and digital content across all platforms. JuVee Productions aims to become the go-to creative hub where the next generation of filmmakers and artists have the space to craft dynamic stories spanning the broad spectrum of humanity.
The company’s most recent project is the courtroom drama “Custody” which premiered at the Tribeca Film Festival in 2016, and aired on the Lifetime network last week. The short film “Night Shift” premiered at the Sundance Film Festival in January of this year and continues to tour the film festival circuit.
Upcoming the production company has the film adaptation of “The Personal History of Rachel DuPree” which Davis is starring in; a biopic on Barbara Jordan (the first Southern African American woman elected to the United States House of Representatives), also with Davis starring; and a TV period series set up at ABC titled “The Zipcoders,” set in 1968, about a group of black teenagers form a rock ‘n’ roll band who aspire to be like The Beatles; and there’s also Davis’ Harriet Tubman film with HBO.
To read full article, go to: Viola Davis’ JuVee Productions Raising $250M for Content Development, Production & Distribution – Shadow and Act
article by Christopher Smith via latimes.com
Opera is often called the most irrational art form. Seen through that lens, bass singer Morris Robinson’s unlikely career path makes wonderful sense.At a young age, from a family and culture that reveres singing, Robinson aspired to be a drummer instead. He ignored college music scholarships and conservatory programs for a free-ride to play football at a military college. Afterward, bypassing all thought of studying music at grad school, he worked for a Fortune 500 company in regional sales of data storage.
At 30, in finally attempting to sing professionally, he tried out for the chorus of “Aida” at the Boston Lyric Opera, the biggest company in New England. A week later, the music director handed him music for a solo role, accompanied by a plea: “Please don’t screw it up.”
“A lot of the purists, they don’t believe my story,” Robinson said. “They don’t believe it until they witness it themselves.”
Now 47 and equipped with 18 years of major roles with A-list companies nationally and internationally, Robinson has forged a life path in opera that seems inevitable in retrospect. After all, he was “the rare person,” L.A. Opera music director James Conlon said, “born with the great voice where strength predates technique. It’s a round, large voice.”
“A lot of people force their voices, they either yell or scream, which decays the quality of the sound. Morris himself is big, and that voice is right there without him having to make it that way, so he can sing with beautiful rounded sounds.”
With this level of vocal entitlement, Robinson might seem to be a natural. But throughout his life he seemed to ignore, even actively ward off, singing — though it was always around him.
Raised in a musical clan in Atlanta, Robinson had a dad, mom and three young sisters who all sang. Around 6, he participated in a church choir and then the Atlanta Boy Choir, alternately immersed in religious and secular music. But singing was at best a backdrop, maybe even an obstacle. “I felt like I could do something special, but I could never figure out what it was,” he said.
“At first, I always was in the choirs, but to me, at heart, I was a drummer. Because if you’re going to be in a church in the South, there has to be rhythm. It was always about beats, beats, beats.”
He entered a performing arts high school. His senior year he made all-city band and all-state chorus.
But all he really cared about?