Press "Enter" to skip to content

Posts tagged as “Will Smith”

MUSIC MONDAY: “Summer Breeze” – Summer Songs Playlist for 2023 (LISTEN)

by Jeff Meier (FB: Jeff.Meier.90)

This July, as we endure the latest triple digit temperature heatwave, or navigate flight cancellations in our attempts at a vacation, we can always count on summer music to lighten the mood and keep our heads cool in the comfort of our own backyard.

So, with that in mind, we’re back again this holiday week with the latest update to our popular playlist entitled Summer Breeze – Soulful Summer Songs.” We introduced this playlist a few years ago and have been updating it annually with both new and old musical finds uncovered deep in the recesses of Spotify.

[spotifyplaybutton play=”https://open.spotify.com/playlist/1xgE7qFwobhbEshljcxyPs?si=f9ead573a45d4295″]

The goal of the playlist is simple – find music by Black artists (or, in a few cases, soul-influenced artists of various ethnic backgrounds) that have the word “summer” in their song title – these songs are literally written about summer.

Some are big BBQ standards, like “Summer Breeze” by the Isley Brothers, Will Smith‘s “Summertime”, Sly & The Family Stone‘s “Hot Fun in the Summertime” and “Summer” by War.

But many are lesser known from across the decades, from artists ranging from Nat King Cole and Nancy Wilson to Anderson.Paak and Aloe Blacc – all unified by their seasonal theme.

This year we’ve added 35 new songs, sprinkled throughout the list. Some are fresh out of the oven, like Chris Brown‘s “Summer Too Hot” and “Summer Renaissance” by Beyoncé. Others include older songs we found anew on Spotify since our last update, from name artists like Uncle Charlie Wilson (“Just Like Summertime”), Rick James (“Summer Love”), Tony! Toni! Toné! (“Til Last Summer”), reggae group Big Mountain (“Reggae Inna Summertime”) and Kelly Rowland (“Summer Dreaming”).

For this OG soul music fan, the most fun, perhaps, is uncovering via the magic of Spotify all sorts of artists new to my ears. Many are already successful with millions of monthly Spotify listeners, such as SiR (“Summer in November”), Fana Hues (a lovely cover of Stevie’s “Never Dreamed You’d Leave in Summer”), girl group FLO (“Summertime”), Khruangbin (a cool new take on “Summer Madness”) and KYLE (“SummertimeSoul”). 

We’ve also got songs from newcomers like Kenya Vaun (“Summer”), Tay Iwar with Juls (“Summer Breeze”), and NoMBe (“Summer’s Gone” remix with Sonny Alven and Thutmose).

Spotify has opened up American ears to artists from all over the globe that we may never have heard before the internet. South Africa’s Soweto-born DJ Kent brings us the hypnotic “Summer Heartbreak.” Suriname-born Jeangu Macrooy (“Summer Moon”) has represented Netherlands in Eurovision. Pheelz (“Pheelz Like Summer”) is a prolific Nigerian producer/artist with a following in both his home country and throughout Europe. And from the UK comes newcomer Debbie, with her tune “Summer in December.”

Of course, we also had to dig for a few more deep classics. Those include the Chic-like British soul tune “Summer Grooves” by Mirage, doo-wop classics from Ruby & The Romantics (“My Summer Love”), The Danleers (“One Summer Night”), and The Tymes (“Summer Day”), and some newly found standards, including a lovely version of “The Summer Knows” from Leslie Uggams and Sarah Vaughan‘s “The Green Leaves of Summer.” And, love it or hate it, you simply must check out LGBT icon Sylvester‘s version of the Porgy & Bess standard “Summertime” in which the disco star merges Gershwin with Soft Cell’s “Tainted Love.”

If you’ve enjoyed this playlist in the past, here’s the annual reminder to check in with it again for some fresh additions. And if you are new to it, check out all the above and more on what is now a full day’s worth of summer songs with a soulful sensibility to explore. Feel free to let us know in the comments your favorite “summer” songs, including any we’ve missed!

Enjoy!

Black Oscar Firsts: A Brief History of the Trailblazing Academy Award Winners in Each Category (LISTEN)

by Lori Lakin Hutcherson (@lakinhutcherson)

You might know about Hattie McDaniel, Sidney Poitier or Halle Berry being the first Black recipients of Oscars in their respective acting categories, but have you ever wondered who were the first in all the others? Writing? Producing? Hair and Make-Up? Sound?

Today’s GBN Daily Drop podcast is a bonus episode for Sunday, March 27 — the day the 94th Academy Awards ceremony are being held — that takes note of every Black Oscar first:

You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.com or create your own RSS Feed. Or just check it out every day here on the main website.

SHOW TRANSCRIPT:

Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a bonus daily drop of Good Black News for Sunday, March 27th, 2022, based on the format of the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.

The 94th Academy Awards ceremony is being held today and with Will Packer producing, Wanda Sykes and Regina Hall among the hosts and Will Smith, Denzel Washington, Aunjanue Ellis and Questlove among the nominees, I thought I’d take a brief look at the talented Black people in film who were the first in their category to ever win an Oscar.

The very very first was Hattie McDaniel, who won in the Best Supporting Actress category for the 1939 film Gone With The Wind.

In 1948, actor James Baskett received a special Academy award for his characterization of Uncle Remus in Song of the South, but the next to win an award in competition was Sidney Poitier in 1963, who won Best Actor for his role in Lilies of the Field.

It took almost a decade after that for the next win, which was Isaac Hayes in the Original Song category for 1971’s “Theme from Shaft.”

[Excerpt from “Theme from Shaft”]

Up next 11 years later was Lou Gossett, Jr. for his Best Supporting Actor win in 1982 for An Officer and a Gentleman.

[Excerpt of “The Beautiful Ones”]

In 1984 Prince won Best Original Song Score for Purple Rain, and he was the first and last Black person to win in that category because after 1984, it was retired as a category from the Academy.

Contrary to popular belief, Prince didn’t win for the actual song “Purple Rain” — the Original Song Oscar that year went to Stevie Wonder for “I Just Called to Say I Love You” from the film The Woman in Red.

[Excerpt of “I Just Called To Say I Love You”]

The following year, in 1985, jazz titan Herbie Hancock took home the Oscar for his Original Score for ‘Round Midnight.

And jazz kept the Gold Guys a coming – in 1988 Willie D. Burton accepted the Best Sound Oscar for his and his team’s work on the Charlie Parker biopic Bird, and in 1994, though nominated for several of his scores, the Oscar that Quincy Jones brought home was the Jean Hersholt Humanitarian Award.

In 2001, Halle Berry won the Best Lead Actress Oscar for her work in Monster’s Ball, and 2009 saw Roger Ross Williams win for Best Documentary Short Subject for Music By Prudence and Geoffrey Fletcher won for Best Adapted Screenplay for Precious, which was based on the novel Push by Sapphire.

In 2012, T.J. Martin won for Best Documentary Feature for Undefeated, and in 2013, Steve McQueen shared his Best Picture Oscar with his producing partners for 12 Years A Slave.

In 2017, NBA legend Kobe Bryant won in the Best Animated Short Film category for Dear Basketball, and Jordan Peele won in the Best Original Screenplay category for Get Out.

The following year, Peter Ramsey won an Oscar in the Animated Feature Film category for co-directing Spider-Man: Into the Spider-Verse. 2018 also saw Ruth Carter win in the Costume Design category for her work on Black Panther and Hannah Beachler for Production Design for the same marvel of a movie directed by Ryan Coogler.

And for 2020, Travon Free won in the Best Live Action Short Film category for Two Distant Strangers, and Mia Neal and Jamika Wilson took home Oscars in the Make-Up and Hairstyling category for Ma Rainey’s Black Bottom.

To learn more about Black Academy Award winners and nominees, read Black Oscars: From Mammy to Minny, What the Academy Awards Tell Us About African Americans by Frederick Gooding, Jr. and check out the links to more sources provided in today’s show notes and in the episode’s full transcript posted on goodblacknews.org.

This has been a bonus daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.

Beats provided by freebeats.io and produced by White Hot.  And any additional music included is done so under Fair Use.

If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com,Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.

For more Good Black News, you can check out goodblacknews.org or search and follow @goodblacknews anywhere on social.

Sources:

(paid links)

Will Smith and David Oyelowo Partner to Produce and Adapt “Oneyka and the Academy of the Sun” for Netflix

According to Variety.com, Will Smith’s Westbrook Studios and David Oyelowo’s Yoruba Saxon have partnered with Netflix to produce the film adaptation of the upcoming book Onyeka and the Academy of the Sun by British-Nigerian author, journalist and hair care educator Tọlá Okogwu. Ola Shokunbi is set to write the film adaptation.

To quote variety.com:

Onyeka and the Academy of the Sun tells the tale of a teenager who learns she has powers and travels to Nigeria to learn more about her origins, where she discovers a threat to her newfound magical community.

Described as Black Panther meets X-Men or Percy Jackson, the book is the first in an action-packed series for middle-grade children and will be published by Simon & Schuster in the U.S. and U.K. this June.

In 2021, Westbrook Studios produced the Academy Award-nominated film King Richard and most recently debuted the series Bel-Air on Peacock, the dramatic reboot the 1990s comedy series Fresh Prince of Bel Air that starred Smith.

Read more: https://variety.com/2022/film/news/will-smith-david-oyelowo-netflix-movie-1235183223/

GBN Wishes You and Yours a Happy Father’s Day (LISTEN)

We’ve been wanting to post to acknowledge all the fathers, uncles, stepfathers and loved ones who have been parenting, raising and advising the next generations, but our site has been having serious server issues since dawn.

So even though we are nearing dusk, and we posted what we could on our social media, we’re taking advantage of this moment of connectivity to say “Happy Father’s Day” on our main page and offer a playlist dedicated to the dads called “Color Him Father” – A Father’s Day Collection:

This 20-songs compilation offers praise, introspection, dreams, admonition and advice from myriad genres and perspectives – from The Winstons‘ appreciation of a stepfather on “Color Him Father,” to Will Smith‘s heartfelt expression of how it feels to become a dad on “Just The Two Of Us,” to Beyoncé’s appreciation of different aspects of her father on “Daddy” and “Daddy Lessons.”

Also included are Prince‘s declaration of love for his father amid complexities on “Purple Rain” and Kirk Whalum‘s soulful, jazz cover of “Because You Loved Me” which Diane Warren wrote about her relationship with her father, DMX and Usher‘s heartbreaking plea “Letter To My Son (Call Your Father)”, and classics like “Daddy’s Home” – the popular cover by Jermaine Jackson as well as the original version by Shep and The Limelites.

We hope it’s been a great day for all those in the dad role today, and hope you enjoy the above, knowing you are seen, honored and loved through thick and thin.

Films with Higher Percentages of Cast Diversity Earn Top Box Office Dollars in 2020 While Films with Lowest Diversity Earn the Least

by Lori Lakin Hutcherson (@lakinhutcherson)

According to UCLA’s annual Hollywood Diversity Report, U.S. audiences spent more money to see films comprised of diverse casts.

Although the COVID-19 pandemic disrupted movie releases in theaters for the majority of 2020, the UCLA report took that into consideration and tracked online and streaming movie releases as well. The data from those releases offer similar results — diversely-cast films generate more interest from audiences.

UCLA’s 2021 report states that in 2020, films with casts with at least 41% to 50% diversity took home the highest median gross at the box office, while films with casts less than 11% diversity performed the worst.

These films include the Will Smith/Martin Lawrence action comedy Bad Boys for Life, which was 2020’s top-earning film at the box office with $426.5 million; the No. 2 Tenet starring John David Washington, which grossed $362.9 million; Birds of Prey, which came in at No. 5 with $201.9 million; and Onward, which came in seventh with $141.9 million.

The UCLA report states that the new evidence from 2020 supports findings from previous reports in this series suggesting that America’s increasingly diverse audiences prefer diverse film content in the following ways:

  1. People of color accounted for the majority of opening weekend, domestic ticket sales for six of the top 10 films released in theaters in 2020 (ranked by global box office), as well as half of the tickets for a seventh top 10 film.
  2. Among the large number of top films released via streaming platforms in 2020 — largely due to the pandemic and theater closures — ratings for White, Black, Latinx and Asian households and viewers 18-49 were all highest for films featuring casts that were from 21 percent to 30 percent minority.
  3. Households of color accounted for a disproportionate share of the households viewing eight of the top 10 films released via streaming platforms in 2020, ranked by total household ratings, and approached proportionate representation for the other two.
  4.  In 2020, total social media interactions for films released via streaming platforms peaked for films with casts that were from 21 percent to 30 percent minority.
  5. In 2020, films with casts that were from 41 percent to 50 percent minority enjoyed the highest median global box office receipts, while films with casts that were less than 11 percent minority were the poorest performers.
  6. In 2020, seven of the top 10 theatrical films for Asian and Black moviegoers, ranked by each group’s share of opening weekend box office, featured casts that were over 30 percent minority. Four of the top 10 theatrical films for Latinx moviegoers and just one of the top 10 theatrical films for White moviegoers had casts that exceeded 30 percent minority.
  7. Seven of the top 10 streaming films ranked by the Asian share and Black share of total households had casts that were over 30 percent minority in 2020. Among the top 10 films ranked by Latinx and White household share, six had casts that exceeded the 30 percent minority threshold.

The report also notes that while gains have been made in certain areas in regards to casting, director and writer representation for people of color still has a ways to go, with percentages for both in 2020 were still over 74% white.

To read the full report, click here.

History-Making Tyler Perry Studios Has Grand Opening Gala in Atlanta with Oprah, Beyonce and More

Tyler Perry (photo via commons.wikipedia.org)

Actors, directors, musical artists, filmmakers and politicians such as Oprah Winfrey, Beyoncé, Stacey Abrams, Ava DuVernay, Viola Davis, Samuel L. Jackson, Spike Lee, Tiffany Haddish, Whoopi Goldberg, Reginald Hudlin and Halle Berry showed up to support filmmaker and entrepreneur Tyler Perry as he formally opened his Tyler Perry Studios in Atlanta.

Tyler Perry Studios marks the first time that an African-American person has owned and operated a major film studio anywhere in the U.S.

Perry also reportedly named his twelve sound stages after living and late legends such as Denzel Washington, Oprah Winfrey, Halle Berry, Sydney Poitier, Della Reese, Spike Lee, Harry Belafonte, Cicely Tyson, Whoopi Goldberg, Diahann Carroll and Will Smith.

“Why did it take so long?” Goldberg wondered in an interview with The Hollywood Reporter. “Why was he the first to get it? Now he’s the man who makes the decisions, chooses the movies, and he doesn’t have to ask anybody for shit. There’s nothing better than that. He’s never on his knees. He gets what he needs because he provided it.”

Davis concurred by saying, “Tonight is history. Tonight is not just entertainment and flamboyancy, it’s not just an excuse to get dressed up. It’s an excuse to celebrate a historic moment, which is a black artist taking control of their artistic life and the vision that God has for their life,” she said. “What’s happened with us historically is we’re waiting for people to get us. We’re waiting for people to throw us a crumb. That’s not what Tyler Perry has done. I want to be able to look back on this and say ‘I was there.'”

Winfrey added of Perry: “Tyler is my little big brother. To see him rise to this moment that I know he’s dreamed about, planned, defined, clarify for himself, it’s just a fulfillment of a dream. It’s wonderful to see.”

DuVernay, among others, touchingly reported on the momentous occasion on her Instagram and Twitter:

https://twitter.com/ava/status/1180950995892879361

To read and see more, go to: https://www.hollywoodreporter.com/news/inside-tyler-perry-studios-grand-opening-gala-1245752

Will Smith Honored with Mural in West Philadelphia (VIDEO)

Will Smith mural in West Philadelphia (photo via ambrosiaforheads.com)

by Kia Morgan-Smith via thegrio.com

Will Smith is the native son of West Philadelphia and the city that raised the mega movie star paid homage with the painting of a mural by British artist Richard Wilson.

Wilson reportedly envisioned Smith’s painting in the light of Kehinde Wiley’s presidential portrait of Barack Obama, except that Smith has on more casual attire.

Smith, said it was humbling to learn that Wilson, a renowned artist chose him as his subject to paint a mural which lives on the wall of Gevurtz Furniture store on Girard Ave in the city. “The idea that there would be a mural of me on the side of a school in West Philadelphia just wrecked me,” said an emotional Smith, wiping away tears in a video about the mural.

Will Smith’s mom, Caroline Bright, also was at a loss for words when she came to see the mural firsthand. Even Smith’s close friend and former bodyguard Charlie Mack, complimented Wilson on getting Smith’s protruding ears just perfect.

Dr. Naomi Booker, CEO of Global Leadership Academy was moved knowing that her school sits near the giant mural and her students can take a page from Smith’s book and dream big. “This man is an icon and he’s looking at GLA (Global Leadership Academy) so my kids everyday will see this image and know that you can be whatever you want to be,” Booker said according to Philly.com.

“This is a man who grew up in Philadelphia, went to Overbrook High School up the street was a part of this world, that he now is looking at us,” she said about the mural facing the school.

Smith hasn’t yet see the mural in person but reportedly plans a visit to the city to check it out. In the meanwhile, he’s launched a fundraiser and is selling merchandise where 100% of proceeds will go to West Philadelphia’s Global Leadership Academy Charter School and artist Richard Wilson.

Source: https://thegrio.com/2018/07/03/will-smith-and-his-mom-celebrate-philadelphia-mural/

Pioneering Astronaut Mae Jemison Offers Insight and Forward Thinking to New National Geographic Channel Series "One Strange Rock"

by Lori Lakin Hutcherson, GBN Editor-in-Chief

Recently, Good Black News was invited to cover the launch of “One Strange Rock,” a ten-part space/science series on the National Geographic Channel that premieres Monday, 3/26, and is hosted and narrated by Will Smith.

It is director Darren Aronofsky‘s (“Black Swan,” “mother!,” “Requiem For a Dream”) first foray into television, and the series is produced by Jane Root through her production company Nutopia. It is a cinematic look at Earth from a variety of perspectives – from space, from the sea, from the desert – and across all continents.

From the episodes I’ve seen, “One Strange Rock” is a gorgeous, meditative, eye-opening look at our planet, and Smith is a welcome, friendly guide along the journey to get to know Earth and all its ecosystems in ways we haven’t seen or previously considered. But what honestly got me excited about “One Strange Rock” was the opportunity to sit down one-on-one with Dr. Mae Jemison, the first African-American female to travel into space (and one of my personal she-ros) to speak with her about her participation in “One Strange Rock,” as well as her other current projects (100 Year Starship and Look Up).

As I start to record the interview (this is moments after I fangirl and tell Dr. Jemison I dressed up as her one Halloween, entered a costume contest and won a 25-dollar gift card to Virgin Records), I state into my Voice Memo app the date, time, and that I’m about to interview Dr. Mae Jemison, she charmingly interrupts.

Mae Jemison: How about if we do it in Star Date Time? 2018.01.13, right?

Good Black News: Way better! That’s a Trekkie for you! I appreciate that, thank you, Dr. Jemison. Well, first I want to ask you about your involvement in “One Strange Rock.” Why, of all the different entities out there covering space, space travel, space exploration, did you want to lend your voice to this project?

MJ: So “One Strange Rock” is the story of the extraordinary journey of Earth. It’s about our home planet and how we went from this collection of rock and gases to something that supports life and an incredible diversity of life, and I wanted to be a part of that. When people think about space, so frequently they think about it just as the stars and the pictures and images and the rockets. But actually, space allows us to see our world that we live on. Space allows us to understand that when we look up at the stars, we’re actually made of the stuff of stars. Right? Inside of us is the heart of an old star. Doesn’t that make you feel like you belong to this universe and that you’re supposed to be here?

Absolutely. So is your hope with this particular project that more people will get that understanding that there isn’t a separation?

MJ: “One Strange Rock” does this incredible thing – it takes us from the smallest microbe, or to how oxygen is generated in small bubbles, all the way to the vistas of continents or being able to see our atmosphere, and connects it together. And so for me, one of the things we need to understand at some point in time – we’ve got to figure this out – is that we’re Earthlings and that we’re connected to this planet. So when I went into space, one of the things that happened to me is that I had an affirmation of something that I always believed. You know when people say, “Save the Earth”? They’re mistaken – the Earth will be here. The difference is, can we act in such a way that it continues to support our life form? You see, what “One Strange Rock” shows is how integrated life is on this planet and we as humans are part of that life. If we go to another world – just go to the space station – we have to carry some of the Earth with us. We have to carry that environment with us because this is where we evolved, this is where we developed. That doesn’t mean we shouldn’t leave – obviously I want to leave -I want to go and explore other places. But it’s the recognition that there are a… unique series of coincidences, events and everything that led us to this day, to humans, to me sitting talking to you. And they started billions of years ago.

So with all of that, you talk in the first episode about the “Overview Effect” – about seeing the planet and essentially what you just communicated to me. How do you get people who don’t have the opportunity to go into space to understand that boundaries and countries and all of these things that we do as human beings to identify in all these different ways is a way of looking at Earth that isn’t going to help foster the survival of our species?

MJ: So I want to make one thing clear – I know a lot of astronauts talk about the “Overview Effect” – that everything belongs right here on this planet – for me when I went into space… I knew damn well that water crosses from one country to another, that our sky is over different countries and weather affects everyone. What “One Strange Rock” does is help people to understand and feel that. So I can maybe mumble words and give you statistics and stuff, but it’s not the same thing as having that emotional connection. What I’m so proud about with “One Strange Rock” is that it takes images from lots of different countries, from African countries, from South American countries – it goes down underneath the Earth and goes up to the top. And all those things help us to see this planet and the imagery from people, to animals, to… desolate locations. And so, it’s not so much again about mumbling the words, or even saying the words very clearly, it’s about allowing people to see and be there with you. And not just from space, because we get down to the detail. We see kids playing, we see folks who’ve been collecting salt for generations from one location. All of those things are important for us to understand our connectedness to this world. And it’s not about preaching and it’s not about how fast the Space Station is orbiting the Earth or any of that kind of stuff – it’s that vantage point.

Chadwick Boseman and Ryan Coogler on How ‘Black Panther’ Makes History | Variety

Black Panther Variety Cover
CREDIT: ART STREIBER FOR VARIETY

by Ramin Satoodeh via Variety.com
Chadwick Boseman struggled to catch his breath after he was cast as Black Panther. When he first tried on his spandex suit for 2016’s “Captain America: Civil War,” it felt too restricting. “It was suffocating,” recalls Boseman. “Literally, it closed off every possibility of air getting to you. I was in it, put the mask on. I said, ‘Hey, you got to get me out of this!’” By the time he headlined his own movie, as the first black Marvel superhero with his name on the poster, Boseman was more comfortable in his re-engineered costume. “I think it begins to feel like skin after a while,” says the 41-year-old actor. “But it takes time to get to that place.”
The same can be said for Disney’s long-awaited tentpole “Black Panther,” which opens in theaters on Feb. 16. For decades, actors, directors, producers and fans have wondered why Hollywood was so slow to bring black superheroes to the big screen. It’s not that there weren’t attempts along the way. In the ’90s, Warner Bros. had originally tapped Marlon Wayans to portray Robin in a “Batman” movie, before Chris O’Donnell landed the sidekick role. Wesley Snipes starred in the vampire superhero franchise “Blade,” which spawned two sequels. In 2004, Halle Berry headlined “Catwoman,” which was ridiculed by critics and tanked at the box office. And 12 years later, Will Smith, the co-star of the juggernaut “Men in Black,” popped up in “Suicide Squad” as the under-seen assassin Deadshot.
“Black Panther,” directed by Ryan Coogler, is a movie that doubles as a movement, or at least a moment that feels groundbreaking in the same way that last year’s runaway hit “Wonder Woman” inspired millions of women. “Panther” marks the first time that a major studio has greenlit a black superhero movie with an African-American director and a primarily black cast, including Forest Whitaker, Angela Bassett, Michael B. Jordan, Lupita Nyong’o, Danai Gurira and Letitia Wright as Shuri, the princess of the fictional African country Wakanda.
The reality of this milestone isn’t lost on Coogler, the 31-year-old director of the Sundance darling “Fruitvale Station” and the “Rocky” sequel “Creed.” “I think progress comes in ebbs and flows,” Coogler says. “I hope things continue to open up. As more content gets made, more opportunities like ours can come about for folks. But you’ve got to put your foot on the gas when it comes to that or things can go back to where they were.”
“Black Panther” chronicles an origin story for a Marvel character who first made his debut in the comic books in 1966. On the big screen, he’s a warrior named T’Challa, who returns home to an Afro-futuristic country to inherit the throne as king. The release of the movie coincides with a crossroads in America. Racial tensions are heightened as a result of a president who continually makes reprehensible remarks about immigrants from nonwhite countries. “Black Panther” also arrives on the heels of #OscarsSoWhite, the two consecutive years (2015 and 2016) that the Motion Picture Academy failed to nominate any actors of color for awards.
Anticipation for the release of “Black Panther” is much higher than for the last outings from Batman and Thor. In May 2016, the hashtag #BlackPantherSoLIT started trending on Twitter as casting details around the movie emerged. “Panther” is poised to break box office records for February, a typically quieter time as audiences catch up on romantic comedies around Valentine’s Day. Marvel’s latest crown jewel is tracking to gross an estimated $150 million on its opening weekend. Strong business for “Black Panther,” which cost nearly $200 million to produce and roughly $150 million more to market, would send a clear message to the movie industry that certain communities are still widely underserved. While domestic ticket sales plummeted last year, the number of frequent African-American moviegoers nearly doubled to 5.6 million in 2016, according to a survey by the Motion Picture Assn. of America.
Some are paying attention. “Representation matters,” says Alan Horn, chairman of Walt Disney Studios, which owns Marvel. “It’s a powerful and important thing for people to know they are seen and to see themselves reflected in our films and the stories we tell.” Horn believes that “Black Panther” is part of a wave of change. “In terms of gender diversity, we’ve done very well,” he says, pointing to his studio’s own roster that includes “Beauty and the Beast,” “Coco” and the upcoming live-action “Mulan.” “When it comes to diversity reflecting color and ethnicity, I’d say yes, you will see more.”

Tiffany Haddish's Hilarious Groupon Story Lands Her Spokesperson Gig and Super Bowl Ad

Tiffany Haddish announces she is new spokesperson for Groupon (image via youtube.com)

by Natasha Bach via fortune.com

Tiffany Haddish’s love for Groupon is sending her to the Super Bowl. The Girls Trip actress 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.”
https://youtu.be/ewNEBVwZuxw
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.”
Source: http://fortune.com/2018/01/16/tiffany-haddish-super-bowl-ad-groupon/