He wears a heavy tweed coat instead of a cape and a steely, brooding façade instead of a dark cowl, but for Luther star Idris Elba, his British copper might as well be London’s own Batman. “In concept, we straddle between detective and superhero. Although there aren’t any magic tricks or capes or anything like that, we put our central character through improbable — and probable — scenarios that ask the audience to suspend their belief,” says Elba, the British actor who returns as Detective Chief Inspector John Luther for a third installment of the series running Tuesday through Friday (10 ET/PT nightly, except at 9 ET/PT Wednesday) on BBC America.
Over the course of a trio of seasons since 2010, Luther has dealt with masked serial killers, pedophiles, twin killers, snipers and the psychopathically endearing murderer Alice Morgan (Ruth Wilson), who’s gone from Luther’s arch-enemy to confidante. That stuff is almost easiest for the grumpy lawman to deal with than other aspects of his life, like coming to grips with the death of his ex-wife and brandishing his own sense of justice that, while efficient, puts him at odds with most every other cop in town.
“He’s a spiritually wounded man, and one of the great malicious pleasures of writing for the character and this particular actor is what kind of hell can I put him through next?” says Luther creator and writer Neil Cross.
Good Black News
Florida State’s quarterback competition lasted through spring practice and into fall camp, but all along there was a suspicion that redshirt freshman Jameis Winston would be the starter. In his college debut on Monday night against Pittsburgh, Winston didn’t just show why he was named starter — he showed why they call him “Famous Jameis.” Winston completed 17 of 18 passes for 240 yards and three touchdowns while adding a rushing touchdown to account for all scores in Florida State‘s 28-10 first half lead.
PIttsburgh actually struck first in the ACC opener. Former Rutgers quarterback Tom Savage led the Panthers down the field in nine plays for a touchdown on the game’s opening drive. Winston picked up a pair of first downs on the Seminoles first shot with the ball, but a quick shovel to Kelvin Benjamin on 3rd and 1 resulted in a loss and Florida State had to punt.
That would the last time Florida State punted in the half. Winston was spectacular from that moment forward. Freshman defensive back Jalen Ramsey intercepted Savage and two plays later Winston threw a touchdown pass to tight end Nick O’Leary. The next time Florida State got the ball, Winston was perfect on an 81-yard touchdown drive.
According to msnnow.com, Jaylen Bledsoe is a 15-year-old sophomore at Hazelwood West High School in St. Louis who also happens to be the CEO and President of Bledsoe Technologies. Bledsoe started his IT consultancy when he was 12 or 13, quickly growing it into the $3.5 million enterprise it is today.
He plans to attend Harvard after he graduates from high school and will be a presenter for a St. Louis youth entrepreneurship nonprofit Independent Youth at their annual TrepStart Day in September, as well as being a national speaker for the organization. To see video of Bledsoe and his story, click here: [Source]
article by Lori Lakin Hutcherson
According to box office estimates, Lee Daniels’ The Butler the film beat out One Direction: This Is Us to win the Labor Day weekend box office race and become the first movie this year to finish No. 1 three consecutive weeks, according to TheWrap.
It appears the civil rights saga, starring Oprah Winfrey and Forest Whitaker, will bring in a little more than $20 million over the four-day holiday weekend. After looking as if it was going to finish in the top spot, Sony’s boy band music documentary ended the Labor Day weekend with $18 million.
“We’re surprised,” The Weinstein Company’s distribution chief Erik Lomis told TheWrap, “and very proud. We weren’t expecting to come away with this one, especially after starting out $5 million behind ‘One Direction’ after Friday.”
Lomis said “The Butler,” which has now brought in nearly $80 million domestically, was continuing to broaden its demographic base by playing younger.
“With the kids getting back to school, we’re hoping the word of mouth gets even stronger,” said Lomis. There’s not much room to expand in terms of theaters; it’s on 3,330 screens and averaged just over $6,000.
Two other wide openers – the Selena Gomez-Ethan Hawke thriller “Getaway” and the Eric Bana spy tale “Closed Circuit” – were both non-starters. But “Instructions Not Included,” a family comedy starring Eugenio Derbez, recorded the biggest domestic opening ever for a Spanish-language movie – on just 347 screens – and finished fifth with $10 million for the four days.
Get the FULL story at TheWrap.
“We’re surprised,” The Weinstein Company’s distribution chief Erik Lomis told TheWrap, “and very proud. We weren’t expecting to come away with this one, especially after starting out $5 million behind ‘One Direction’ after Friday.”
Lomis said “The Butler,” which has now brought in nearly $80 million domestically, was continuing to broaden its demographic base by playing younger.
“With the kids getting back to school, we’re hoping the word of mouth gets even stronger,” said Lomis. There’s not much room to expand in terms of theaters; it’s on 3,330 screens and averaged just over $6,000.
Two other wide openers – the Selena Gomez-Ethan Hawke thriller “Getaway” and the Eric Bana spy tale “Closed Circuit” – were both non-starters. But “Instructions Not Included,” a family comedy starring Eugenio Derbez, recorded the biggest domestic opening ever for a Spanish-language movie – on just 347 screens – and finished fifth with $10 million for the four days.
Get the FULL story at TheWrap.
“We are the advance guard of a massive moral revolution for jobs and freedom. This revolution reverberates throughout the land, touching every village where black men are segregated, oppressed and exploited,” the 74-year-old A. Philip Randolph told the estimated 250,000 people gathered at the Lincoln Memorial for the March on Washington for Jobs and Freedom fifty years ago on August 28, 1963.
Although today Dr. King’s iconic “I Have a Dream” speech often symbolizes the March for many, it was very much a stand for black workers with longtime labor leader Randolph at the forefront. He was so committed that neither advanced age nor the death of his wife shortly before the March could keep him home.
More than twenty years before, it was Randolph who had conceived the massive demonstration. Scheduled to take place July 1, 1941, the original March was intended to protest discrimination against black employment in defense industries and federal bureaus and demand that President Franklin D. Roosevelt issue an Executive Order to end such practices.
So, on June 25, 1941, when Roosevelt, after exhausting all means, including personal appeals from his wife Eleanor to Randolph, to call off the march which anticipated 100,000 participants, issued Executive Order 8802 creating the Fair Employment Practices Committee and barring discrimination in defense industries and federal bureaus, Randolph called off the March in victory. Merging the philosophies of Booker T. Washington and W.E.B. Du Bois by setting economic justice as the foundation of civil rights, Randolph would not stop or even begin here.
Born Asa Philip Randolph, the second of his parents’ two sons, on April 15, 1889 in Crescent, Fla, near Jacksonville where he later grew up, service was a consistent message in his childhood. His father, the Rev. James W. Randolph, in keeping with the African Methodist Episcopal (AME) philosophy, ministered to his congregation’s social and spiritual needs. Rev. Randolph and his wife Elizabeth, who hailed from a once enslaved family who were also AME members, taught their sons racial pride and self-respect. Encouraging young Asa Randolph’s healthy thirst for knowledge, Rev. Randolph filled the family’s home.
Tall, handsome, popular and smart, Randolph sang in the choir, was a star baseball player and a great speaker. Despite graduating valedictorian from Cookman Institute (later incorporated into Bethune-Cookman in Daytona Beach, Fla.) in 1907, there was not suitable employment for him in Jacksonville. Not wishing to follow in his father’s footsteps as minister, Randolph hired himself out as a hand on a steamship and headed for New York City in 1911, shortly after he turned 22, with dreams of becoming an actor.
In New York, he worked several jobs, including elevator operator, porter and waiter, while also studying English Literature and Sociology at City College at night. Despite organizing the Shakespearean Society in Harlem and playing several roles, including Hamlet, Othello and Romeo, Randolph was clearly destined to make his mark on a different stage. With kindred spirit Chandler Owen, a Columbia University student, Randolph founded the employment agency, the Brotherhood of Labor, where the two tried to unionize black workers.
CHICAGO — Act I, Scene 1: Four actors in well-worn coveralls and baseball caps take the stage at the county jail. They’re here to tell a tale of love, friendship, jealousy and betrayal. It’s the stuff of Shakespearean tragedy. The names and themes haven’t changed over the centuries, but the language has a modern beat:
“Othello never knew, He was getting schemed on by a member of his crew.”
This is “Othello-The Remix,” the Chicago Shakespeare Theater’s hip-hop version of the tragedy about a valiant Moor deceived by the villainous Iago into mistakenly believing his wife has been unfaithful. After Othello smothers his beloved Desdemona, he discovers she has been true to him and he kills himself.
That’s how Shakespeare told the story 400 years ago. This modern version – performed this week for about 450 Cook County jail inmates – is a rhyming, rapping, poetic homage to the Bard. It has singing and dancing. Comic touches. Men playing women. Sexual talk. References to Eddie Murphy and James Brown. A throbbing beat, courtesy of an onstage DJ.
And a contemporary plot: MC Othello is a self-made rap star turned music mogul (think Jay-Z) who decides to promote Cassio, a middle-of-the-road rapper, by releasing his next album. That infuriates the edgy rapper, Iago, who vows revenge. “This is why I hate the Moor,” he fumes. “He never lets me get my foot in the door.” Desdemona is not seen, but heard, her ethereal golden pipes occasionally filling the air.
The Othello remix is the brainchild of two Chicago brothers and rappers – GQ and JQ, aka Gregory and Jeffrey Qaiyum. They wrote and directed the show, honing 40 or so drafts over eight months into a 75-minute rhyme-a-thon. It’s their third hip-hop translation of Shakespeare, following “The Bomb-itty of Errors” and “Funk It Up About Nothin.'”
“Othello never knew, He was getting schemed on by a member of his crew.”
This is “Othello-The Remix,” the Chicago Shakespeare Theater’s hip-hop version of the tragedy about a valiant Moor deceived by the villainous Iago into mistakenly believing his wife has been unfaithful. After Othello smothers his beloved Desdemona, he discovers she has been true to him and he kills himself.
That’s how Shakespeare told the story 400 years ago. This modern version – performed this week for about 450 Cook County jail inmates – is a rhyming, rapping, poetic homage to the Bard. It has singing and dancing. Comic touches. Men playing women. Sexual talk. References to Eddie Murphy and James Brown. A throbbing beat, courtesy of an onstage DJ.
And a contemporary plot: MC Othello is a self-made rap star turned music mogul (think Jay-Z) who decides to promote Cassio, a middle-of-the-road rapper, by releasing his next album. That infuriates the edgy rapper, Iago, who vows revenge. “This is why I hate the Moor,” he fumes. “He never lets me get my foot in the door.” Desdemona is not seen, but heard, her ethereal golden pipes occasionally filling the air.
The Othello remix is the brainchild of two Chicago brothers and rappers – GQ and JQ, aka Gregory and Jeffrey Qaiyum. They wrote and directed the show, honing 40 or so drafts over eight months into a 75-minute rhyme-a-thon. It’s their third hip-hop translation of Shakespeare, following “The Bomb-itty of Errors” and “Funk It Up About Nothin.'”
[youtube=http://www.youtube.com/watch?v=Cdv5FbuK4rY&w=420&h=315]
Even if Pharrell Williams isn’t a household name where you live, the music he’s had a hand in creating most likely is. He’s featured in this this year’s song of summer, “Blurred Lines,” Daft Punk’s “Get Lucky,” and he’s co-collaborated on songs such as Snoop Dogg’s “Drop it like it’s Hot” and Gwen Stefani’s “Hollaback Girl.”
Sixteen Grammy nominations (and three wins) later, the music producer-song writer-recording artist sat down with TODAY’s Savannah Guthrie to talk about the path to getting to top of the Top 40.
“I can write pretty much anywhere, but in the shower it’s, like, where it’s, like, really great,” Williams told Guthrie of where he’s come up with some of his best work, including “Hot in Herre” Nelly’s super-successful 1992 hit.
But before he was sharing top billing with the likes of Nelly, Justin Timberlake and Ludacris, he was any other kid growing up in Virginia Beach, playing the drums and going to band camp. “Most of us were kinda nerdy,” Williams said. “Nobody sort of walked in, like, you know, Kurt Cobain, Dave Grohl-cool.” It was at that camp where Williams, then 12, met his producing partner Chad Hugo. By the time they were 19, the duo had helped write and produce the 1992 Wreckx-N-Effect hit song, “Rump Shaker.”
Fast forward two decades and many successes, Williams says he can point to the singular best song he’s ever co-written. “My son,” he told Guthrie of Rocket, his little boy with new fiance Helen Lasichanh. “Every night’s like a sleepover,” he said of Lasichanh, who he calls his “bestie.”
So what else does the super-successful Williams hope to accomplish? “Honestly? It’s … more music,” he said. That said, music isn’t the only thing on the artist’s plate: Beginning Nov. 5, Williams will appear as a mentor on Rihanna’s new fashion reality competition show “Styled to Rock” on the Style Network.
article by Courtney Hazlett via today.com
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EW YORK — For eight intense, entertaining games, Sloane Stephens stayed right with Serena Williams. For a 40-minute stretch in the fourth round of the US Open, the top two American women put on quite a show. Both hit serves topping 115 mph. Both whipped groundstrokes to the corners. Both covered a lot of ground, extending points with leg-churning defense. Both showed the occasional sign of nerves, reflecting what a big deal this was, in part because the 15th-seeded Stephens already was one of only three players to beat No. 1 Williams this season. Until, that is, the score was 4-all in the first set Sunday. That’s when Williams took over.
The 20-year-old Stephens’ time at the top of tennis may come. For now, the 31-year-old Williams is still as good as it gets. Taking eight of the last nine games, defending champion Williams returned to the quarterfinals at Flushing Meadows by beating Stephens 6-4, 6-1.
“When you give her that opportunity to take that step forward, she definitely makes her move,” Stephens said. “Unfortunately, today she made her move. I just couldn’t get back in.” Still, all in all, it was remarkably compelling and, within individual points, rather evenly played for what turned out to be such a runaway. “I definitely think it was a high-quality match,” said Williams, 64-4 with eight titles this year. “We both came out today to play.”
LOS ANGELES (AP) — The Oprah Winfrey Network (OWN) is in the black for the first time since its rocky start two-and-a-half years ago. More than 30 new advertisers are joining original heavyweight sponsors Procter & Gamble and General Electric, and are paying higher rates as the channel has found its programming and distribution footing. Headlines about profitability and audience growth have replaced the drumbeat of speculation that her ambitious venture with Discovery Communications might end up a costly flop and an uncharacteristic failure for Winfrey.
Now, Winfrey says, “rewarding” is the word for her experience at OWN, both as the chairwoman and CEO shaping the channel and as a viewer lodestone who hosts several series including “Oprah’s Next Chapter” and “Oprah’s Lifeclass.”
“I no longer have such fear and anxiety about it. I really have more confidence in my decisions,” Winfrey said. “In the beginning, I was in a lot of meetings where people said, ‘You don’t understand cable.’ … I’d say, ‘But I do understand the audience. Aren’t people the same?’”
The answer is yes, says Winfrey, who’s enjoying a career renaissance with OWN’s turnaround and her return to big-screen acting in “Lee Daniels’ The Butler,” No. 1 at the box office for two weeks with more than $50 million in tickets sales.
Her confidence in OWN also is backed up by numbers. For the year to date, viewership is up 22 percent among the target audience of adult women and 23 percent among all viewers compared to last year, according to Nielsen Co. In the third quarter, prime-time viewership among women 25 to 54 and total viewers each are up more than 60 percent compared to 2012. For August, OWN drew a channel-high 536,000 prime-time viewers, a fraction of the millions that watched Winfrey’s talk show but respectable for a developing cable channel.
“I no longer have such fear and anxiety about it. I really have more confidence in my decisions,” Winfrey said. “In the beginning, I was in a lot of meetings where people said, ‘You don’t understand cable.’ … I’d say, ‘But I do understand the audience. Aren’t people the same?’”
The answer is yes, says Winfrey, who’s enjoying a career renaissance with OWN’s turnaround and her return to big-screen acting in “Lee Daniels’ The Butler,” No. 1 at the box office for two weeks with more than $50 million in tickets sales.
Her confidence in OWN also is backed up by numbers. For the year to date, viewership is up 22 percent among the target audience of adult women and 23 percent among all viewers compared to last year, according to Nielsen Co. In the third quarter, prime-time viewership among women 25 to 54 and total viewers each are up more than 60 percent compared to 2012. For August, OWN drew a channel-high 536,000 prime-time viewers, a fraction of the millions that watched Winfrey’s talk show but respectable for a developing cable channel.
Director Ron Howard will debut the “Made in America” documentary about the Jay Z-curated music festival in Philadelphia Oct. 11 on Showtime.
Close to 50,000 fans attended Jay-Z’s “Budweiser Made in America” festival on Labor Day weekend last year. The two-day event included performers such as Pearl Jam, Drake, Run DMC, Skrillex, D’Angelo and Calvin Harris.
The year’s festival kicks of this weekend with performances from Beyonce, Nine Inch Nails, Imagine Dragons, Deadmau5, Kendrick Lamar and Macklemore & Ryan Lewis. Howard’s documentary serves as a backstage pass to the event, which showcases performers sharing stories of how they are “making it in America.”
It will debut Sept. 7 at the Toronto International Film Festival.
article via eurweb.com