Podcasts about carmen a hip hopera

My guest this week is Boston rapper, producer, and saxophonist DiZ. We spoke about The Other Black Woman, Natural Born Killers, Balto, Carmen: A Hip-Hopera, his early beginnings as a musician, figuring out his sound, linking with Ovrkast, juggling a burgeoning music career while studying at Berklee, constantly navigating the line between honesty and oversharing in his writing, and the creative process behind several projects, including his breakout Black Water, ULTRA.VIOLET, and this year's the way forward is not the way home.Reel Notes stands in solidarity with SAG-AFTA as they strike for better working conditions and better pay for the people who power the movies and TV we love. Please consider supporting them directly by donating to the Entertainment Community Fund or The Snacklist mutual aid fund to get food and drink to strikers across Los Angeles.   Visit Dreadsock.com and use promo code "CINEMASAI" for 10% off your first order! the way forward is not the way home is available wherever music is sold, streamed, or stolen. Consider copping from Bandcamp to directly support DiZ. Follow DiZ on Instagram (@diz.47), Twitter (@DizDaDelinQuent), and TikTok (@DizDaDelinquent) Follow me on Instagram (@cinemasai), Twitter (@CineMasai_), TikTok (@cinemasai), and Letterboxd (@CineMasai) Support the show

Gay homosexuals Nick and Joseph discuss Carmen: A Hip Hopera - a 2001 American ⁠musical⁠ ⁠romantic drama⁠ ⁠television film⁠ produced by ⁠MTV⁠ and directed by ⁠Robert Townsend⁠, starting ⁠Beyoncé Knowles⁠, ⁠Mekhi Phifer⁠, ⁠Mos Def⁠, ⁠Rah Digga⁠, ⁠Wyclef Jean⁠, ⁠Da Brat⁠, ⁠Joy Bryant⁠, ⁠Reagan Gomez-Preston⁠, ⁠Jermaine Dupri⁠, and ⁠Lil' Bow Wow⁠.⁠⁠⁠⁠⁠⁠⁠⁠ Additional topics include: The downsides of being married (according to Buzzfeed) My Name Is Monique Netflix special Cannes Film Festival updates And too many films to mention Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046 Find merch here: https://fishjellyfilmreviews.myspreadshop.com/all Venmo @fishjelly Find them on Letterboxd: ⁠⁠⁠⁠⁠https://letterboxd.com/ragingbells/⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠https://letterboxd.com/joroyolo/⁠⁠⁠⁠⁠ Nick's Apple Music playlist: https://music.apple.com/us/playlist/lamour-de-nico/pl.u-PDb4zlpsLVrvqE1 Joseph's Apple Music playlist: https://music.apple.com/us/playlist/josephs-vibe/pl.u-6mo448yuBWzNE1 Check them out on YouTube: https://www.youtube.com/channel/UChVV6ezEYnPv9XaLZtUlZdw Nick's IG: ragingbells Joseph's IG: joroyolo --- Support this podcast: https://podcasters.spotify.com/pod/show/fish-jelly/support

Beyoncé's latest solo album, Renaissance, drops on July 29th so to get everyone prepared, Pop Pantheon will be releasing a series of four episodes on the work and legacy of Queen Bey, each with a different guest!In our second installment, DJ Louie is joined by author and journalist Julianne Escobedo Shepherd to discuss the first decade of Beyoncé's solo career. Louie and Julianne begin with Beyoncé's first steps outside of Destiny's Child, including her film appearances in 2001's MTV's Carmen: A Hip Hopera and 2002's Austin Powers in Goldmember, as well as on record with “Work It Out” and, most importantly, her feature on future-husband Jay-Z's smash 2002 hit “‘03 Bonnie and Clyde”. They then discuss the major themes of the first period of Beyoncé's solo music: ecstatic monogamous love, betrayal and infidelity, wealth accumulation and imbalanced gender dynamics and how they're all represented on Beyoncé's first solo album, 2003's blockbuster Dangerously in Love and amplified on her second, 2006's funky, terse fan-favorite, B'Day. They then dig into how B'Day's harder edge and relative commercial underperformance-- and the attention her co-star Jennifer Hudson swept up from under Beyoncé in the film adaptation of the musical Dreamgirls-- led to the more widely-appealing, if less singular, I Am… Sasha Fierce in 2008, and, after firing her father Mathew as manager, how Bey began to shape a new phase of career with 2011's languid, lowkey 4, in which she was no longer beholden to trends or hit-chasing, expanding her impact into something much greater than conventional pop stardom and providing the platform for the thrilling audio-visual projects which would both define the next decade of her career and change the music industry forever. Stay tuned for next week's installment, in which we'll dive into 2013's BEYONCÉ the visual album, 2016's Lemonade, 2018's Everything is Love, 2019's Homecoming and 2020's Black is King! Check out Louie's Beyoncé Essentials Playlist on SpotifyJoin the Pop Pantheon Discord!Follow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on TwitterFollow Julianne Escobedo Shepherd on Twitter

Welcome to another season of Scary Crit, folks! We missed y'all and hope the feeling's mutual. For  S7, we've decided to take on the classics, but with a little twist. These are the horror classics that made us. Those films that imprinted on us with scares that will last a lifetime, if only in memory. First up is a 90s baby childhood classic, Thir13en Ghosts (2001). Come along with us as we throw stones in a glass house and talk about the film's technical aspects, framing, character depth and exactly what kind scary the movie was. Be sure to listen all the way to the end: ScaryCrit is leveling up and we're excited to see what comes next!!  Timestamps3:39 - Negronomicon35:40 - Crit1:35:48 - Final CurlsFind Us Online- Website: www.scarycritpodcast.com- Twitter: http://twitter.com/scarycritpodcast- Instagram: http://instagram.com/scarycritpodcast   Credits- Host and Producer: Lauren La Melle - instagram.com/laurenlamelle | twitter.com/laurenlamelle | Website: www.laurenlamelle.com- Host and Editor: Jared Hudson - instagram.com/blossomsandbooks93 |Gems from E63Fear Street (film trilogy) (2021)Fear Street Part 2: 1978 (2021)Stranger Things (2016)A Nightmare on Elm Street (1984)The Legend of Zelda: Breath of the Wild 2 (working title) (2023)The Legend of Zelda: Breath of the Wild (2017)Death Note (2006)Sailor Moon (1992)Scream (1996)Top Gun: Maverick (2022)Top Gun (1986)Insecure (2016)The Father of the Bride (2022)The Father of the Bride (1991)Catwoman: The Hunted (2022)Choose or Die (2022)Doctor Strange in the Multiverse of Madness (2022)Men (2022)Crimes of the Future (2022)The Lost City (2022)Harry Potter (film series) (2001)Servant (2019)Jurassic World: Dominion (2022)Lightyear (2022)The Black Phone (2022)The Shining (1990)Goosebumps (1995)Thor: Love and Thunder (2022)The Avengers (2012)Nope (2022)Key and Peele (2012)Friday the 13th (1980)The Texas Chain Saw Massacre (1974)Halloween (1978)Night of the Living Dead (1968)Thirteen Ghosts (2001)Thirteen Ghosts (1960)Scooby Doo (2002)Monk (2002)Ghost Ship (2002)Alien (1979)Dune (1984)Deep Blue Sea (1999)Big Trouble in Little China (1986)John Carpenter's Escape from L.A. (1996)Cube (1997)Abominable (2006) Scary Stories to Tell in the Dark (Alvin Schwartz, Harper & Row, 1981, Print)Candyman (1990)Atlantis: The Lost Empire (2001)Batman (1966)Orphan (2009)Orphan: First Kill (2022)Capser (1995)South Park (1997)Carmen: A Hip-Hopera (2001)Rupaul's Drag Race (2009And Just Like That… (2021)

Episode 108:Today's guest on The Purposeful Life Show with Adrian Starks is former MTV executive and host of I Have A Podcast, Vinnie Potestivo , Be sure to follow The Purposeful Life Show on Facebook and Instagram @purposefullifeshowhttps://www.facebook.com/purposefullifeshowhttps://www.instagram.com/purposefullifeshow/ It was a great time reliving the golden years with Vinnie as he talked about the era of MTV, celebrity encounters, brand development and his purpose for finding the right talent.  Show Notes and Key takeaways on this episode:How Vinnie got into MTVWhich celebrity careers he helped to launchChallenges he faced as the industry shiftedWhat brand development looks like for anyoneWhat he is doing to impact diversity in social mediaHis purpose behind everything that he does for seeking talent As the former MTV exec who helped launch celebrity talent during MTV's golden years is now jumping into the spotlight as the host and producer of his brand new podcast "I Have A Podcast.” The podcast's initial guest lineup includes celebrities whose careers he impacted including the likes of Mandy Moore, SuChin Pak, Christina Milian, TJ Lavin, Jamie-Lynn Sigler, Danielle Fishel, Ananda Lewis and Vanessa Lachey - along with additional creatives including artists, producers and even a clothing brand who is making a positive community impact, Happy Jack. Vinnie helped launch MTV Networks Talent & Series Development department where he worked for nearly a decade 1998-2007!  He was the guy at MTV who helped artists and celebrities claim their brands and their narrative in the original wave of unscripted television. Traditionally, he hired the VJs and scouted the MTV News Correspondents for all of the networks. Then, because of those relationships, he began developing original programming with artists like Ozzy Osbourne and Jessica Jessica Simpson on The Osbournes and Newlyweds. Then with actors like Ashton Kutcher on Punk'd, Nick Cannon on Wild 'n Out, and Wilmer Valderrama on Yo Momma! I'm the guy who put pop royalty in their first tv films when I cast Mandy Moore in 2gether and Beyoncé Knowles in Carmen: A Hip Hopera. ResourcesBook reference in conversation by host: Ego Is The Enemy by Ryan HolidayGuest: Vinnie Potestivo http://vpe.tv/vinterviewCheck out Vinnie's Podcast: I Have A Podcastihaveapodcast.comWebsite: https://vpetalent.com/creator-accelerator-hub/Email: Vinnie@vpetalent.comSocial MediaLinkedIn: https://www.linkedin.com/in/vinniepotestivo/Instagram:  https://www.instagram.com/vinniepotestivo/To apply to be a guest on the show: https://adrianstarks.net/podcast/Support the show

This Week Bridget Kelly and Mandii B are joined by DD, 1/3rd of The Oprah Rose Podcast.The three talk about hosting a birthday party as an adult , Lil' Nas X's virtual quarrel with BET, reminisce about Carmen: A Hip Hopera feat Beyonce and , review the show “Caresha Please” feat. Guest star Diddy. Sign up for the official “See The Thing Is…” PATREON for EXCLUSIVE access & additional content: www.patreon.com/seethethingispod NEW YOUTUBE CHANNEL: https://www.youtube.com/channel/UCDdNnbwgSEpZUj6fJNozz4wAdvertise with us on Gumball: https://gumball.fm/shows/see-the-thing-is/61781b15b8db6d491d3f4119See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, I speak with Vinnie Potestivo on the topic of how to win awards as a content creator, linkedin, IMDB, celebrities and what success means to him. ★ Vinnie's Bio: ★ As the former MTV exec who helped launch celebrity talent during MTV's golden years is now jumping into the spotlight myself as the host and producer of my brand new podcast "I Have A Podcast.” The podcast's initial guest lineup includes celebrities whose careers I impacted including the likes of Mandy Moore, SuChin Pak, Christina Milian, TJ Lavin, Jamie-Lynn Sigler, Danielle Fishel, Ananda Lewis and Vanessa Lachey - along with additional creatives including artists, producers and even a clothing brand who is making a positive community impact, Happy Jack.  I helped launch MTV Networks Talent & Series Development department where I worked fro nearly a decade 1998-2007!  I was the guy at MTV who helped artists and celebrities claim their brands and their narrative in the original wave of unscripted television. Traditionally, I hired the VJs and scouted the MTV News Correspondents for all of our networks. Then, because of those relationships, I began developing original programming with artists like Ozzy Osbourne and Jessica Jessica Simpson on The Osbournes and Newlyweds. Then with actors like Ashton Kutcher on Punk'd, Nick Cannon on Wild 'n Out, and Wilmer Valderrama on Yo Momma! I'm the guy who put pop royalty in their first tv films when I cast Mandy Moore in 2gether and Beyoncé Knowles in Carmen: A Hip Hopera. Connect with Vinnie:https://vpetalent.com/

The AMPire Diaries Episode 72: The Originals - “Le Grand Guignol” AMPies, Klaus still wants to kill his baby sister, and considering the fact that we learn in this episode that he was nice to her once? It's kind of a big deal! That's right, this week, your favorite Vampire Diaries rewatch-slash-first-time watch (and mostly spoiler-free) combination podcast is discussing (and butchering the pronunciation of) The Originals' “Le Grand Guignol” (Season 1, Episode 15). Which means we're talking: - The fact that LaToya and Morgan are officially FED UP with French words. - HE'S HERE. And he'll definitely go to the papers if he has to: It's Mikael “Mikey Mike” Mikaelson! - HOW OLD IS EVE? - Top Gun: Maverick, which is actually VERY important to The Originals Season 1. - Lana the wolf. - Carmen: A Hip Hopera. - The way teens are treated on this show. - More of our patented Finn Mikaelson fanfiction. - Just who is the “Tyler” of this show. Check out our Patreon for our longer R.I.P. Legacies (and The CW) conversation! “A NIGHT AT THE OPERA” (“Le Grand Guignol”) Whether you're a Vampire Diaries obsessive or newcomer, join along with hosts LaToya Ferguson (@lafergs—Vampire Diaries obsessive), Morgan Lutich (@LorganMutich—Vampire Diaries obsessive), and Jill Defiel (@jiilbobaggins—Vampire Diaries newcomer) on their new podcast journey. Most importantly, get AMPED (and horny) along with them on this journey. Ya gotta get AMPED. Become a patron! https://www.patreon.com/ampdiariespod/ Email us! theampirediariespod@gmail.com Tweet at us! @AMPDiariesPod Instagram... at us! @AMPireDiariesPod Go to our website! http://theampirediariespod.com/ The Official CW Promo for “Le Grand Guignol”: https://www.youtube.com/watch?v=xmbD2EgSHjs The Mystic Falls Event of the Week for “Le Grand Guignol”: Flashbacks to 1919, the beginning of the end for the Mikaelsons in New Orleans The AMPire Diaries is now available to stream on Apple Podcasts, Spotify, Stitcher, and Amazon Podcasts, as well as wherever you get your podcasts. Don't forget to rate (5 STARS, please) and review the podcast. And most importantly, don't forget to get AMPED.

Vinnie Potestivo is an industry-leading media and talent innovator who is widely known for his inclusive and impactful approach to brand building and personal brand development.  Vinnie was an MTV Talent Exec from from 1998-2007. I was the guy at MTV who helped artists and celebrities claim their brands and their narrative in the original wave of unscripted television. Traditionally, I hired the VJs and scouted the MTV News Correspondents for all of our networks. Then, because of those relationships, I began developing original programming with artists like Ozzy Osbourne and Jessica Jessica Simpson on The Osbournes and Newlyweds. Then with actors like Ashton Kutcher on Punk'd, Nick Cannon on Wild 'n Out, and Wilmer Valderrama on Yo Momma! I'm the guy who put pop royalty in their first tv films when I cast Mandy Moore in 2gether and Beyoncé Knowles in Carmen: A Hip Hopera. With over 25 years of experience, he and his teams have become well-trusted connectors who sell, develop, produce, launch, distribute, and amplify some of the most talked-about original series & talent brands in modern pop culture. Personal brands Vinnie has helped elevate through the use of original content include Mandy Moore, Ashton Kutcher, Jessica Simpson, Ashlee Simpson, Tyrese Gibson, Lauren Conrad, Diane von Furstenberg, Rob Lowe, Danielle Fishel, Peter Thomas Roth, Kelly Osbourne, Kristin Cavallari, Nasir “Nas” Jones, Molly Sims, Vanessa Lachey, Susie Castillo, Damien Fahey, Quddus, Suchin Pak, Gideon Yago, Will.i.am, Ebro, DJ Clue, LaLa Anthony, Hilary Duff, and Leah McSweeney among others. Corporate brands VPE: Vinnie Potestivo Entertainment, Inc. (https://vpetalent.com/ (vpetalent.com)) has worked closely with include Macy's, Samsung, Nikon, MLB, Peter Thomas Roth, June Jacobs Spa, Naturally Serious Skin, Kiehl's, Hope Fragrances, Ciroc, Dow, Lady Foot Locker, AARP, Prudential & Allstate. A conversation with Vinnie guides us to the fact that there is a process to being a successful recognized creative. That the notion of an overnight success is quite wrong. He shares the most insightful tips to help navigate the waters of a recognized creative. Vinnie insists that artists have to realize that awards are so important. And they are not just handed out randomly they need to be applied for. This means that you need to believe in your work enough and want to apply for an award. Be it the Oscars, the Emmys, or whatever award given to recognize you as a creative. Secondly, credits are equally as important. He observes that there is so much shame as a creative involved in asking for credit credits. And insists that you have to ask for an executive producer credit. Take credit for your podcast and create credit, for your podcast as well. The importance of credit sort of formalizes your production company. Second, It allows you to tag guests, which is a great way for discoverability Third, build a team so that even when you are asking for that recognition there are people who deserve it as well in that collaborative effort. So, it made it easy for him to show up and ask for an award for himself and his team to know that they all won together. And so that we reconcile the personal creative platform vision that we have for our work with the thought that if nobody sees it, then you didn't get your message out. Overall, Vinne gives creatives an amazing do list of valuable tips and tricks. From today's chat, we learn that as creatives we should take credit for our work, enter some awards, and find some collaborators, but also Vinne has encouraged us to tap into that inner mindset that inner creativity takes faith in our work. "I Have A Podcast with Vinnie Potestivo," a collection of conversations with celebrities and creatives who aim to inspire us in our everyday lives, can be found on Apple Podcasts and anywhere else you listen to yours. IHAP's companion video series I Have A Podcast on...

Vinnie Potestivo is featured on this week's episode of Nicstalgia. We talk about my personal favorite era of MTV – the late 90s-early 00s. the energy of youth culture. He worked on The Osbournes, Newlyweds: Nick and Jessica, and Punk'D, and even cast Beyoncé in Carmen: A Hip Hopera. Gen Xers were the first generation to scroll…through the TV Guide channel. Watch to find out how Snooki was first discovered! A large audience impacts culture, but it takes only one person to impact *people* who impact culture. Also, neither of us know which Scandinavian country has the most olympic wins. (It's Norway.) However, Vinnie DID get to be in Times Square at MTV for the Y2K New Year's Eve ball drop. Iconic!! 7:14 MTV's seamless transition from “The MTV Generation” (Gen X) to Millennials 12:32 How reality TV helps viewers draw parallels between culture and real life 14:09 How Snooki was discovered and the impact of Jersey Shore 17:26 How Bravo's reality programming got started 18:36 How Myspace, Facebook, and social media impacted mid 00s-era TV programming 30:51 Creators, evolving technology, and web3 38:19 Imposter syndrome, working outside of your industry, and learning new things 42:35 Cram and Vinnie's appearance on the Game Show Network About our Guest Vinnie Potestivo is a media brand advisor, personal brand strategist, and content coach. He is a well-trusted connector who creates, develops, produces, distributes, amplifies, and helps to monetize some of the most talked-about brands in modern pop culture. Connect with Vinnie Podcast 〰 LinkedIn 〰 Instagram Connect with Nic TikTok 〰 Instagram 〰 Twitter 〰 Substack Special Thanks

Guten morgen, dear Scorekeepers! It's another beautiful Monday in Post-Slap America! Y'all... we tried. I swear we tried. We tried so, so hard not to dip our toes into The Slap Discourse, but after a chat about the grace of soon-to-be-Justice Ketanji Brown Jackson, we just couldn't resist (0:02:40). But the good lord invented timestamps for a reason, so for those of you who just can't, we have the most delightful, insightful and hilarious guest on the show today! Zoie Reams is an incredible young, Black mezzo soprano, Minnesota Opera's first Company Member, and is about to take the stage this May in the title role of our brand new production of Bizet's Carmen, directed by the legendary Denyce Graves (0:40:27). Plus, in honor of Carmen, we thought it would be fun for the four of us to take a look back at 2001's Carmen: A Hip Hopera, a modern-day adaptation, starring our queen... Beyoncé, of course (1:07:53)! And as if that wasn't enough Pure Black Joy, as always, we'll start your week with a little snack for your soul (1:30:46). Let's do it to it, y'all! Hosts: Lee Bynum, Rocky Jones, Paige Reynolds Guest: Zoie Reams Music: https://www.youtube.com/watch?v=ufezE1bq_4U (Minnesota Opera's Albert Herring - "Meet Me at Quarter Past Eight in the Street") Links MNOp's Carmen (https://mnopera.org/season/2021-2022/carmen/ (Website)) Zoie Reams (https://imgartists.com/roster/zoie-reams/ (Website)) (https://www.instagram.com/zoieimani/ (Instagram)) (https://www.facebook.com/mzozoie/ (FB)) New episodes of THE SCORE drop every other Monday. If you like what you hear, please support us and SUBSCRIBE to the show on your favorite podcast app and be sure to SHARE our show with your friends. Also, leaving a 5-star REVIEW on Apple Podcasts is a great way to help get the word out. For more info about the exciting EDI work happening at MN Opera, please visit https://mnopera.org/edi/ (mnopera.org/edi). Email your questions or comments to thescore@mnopera.org

What's up, podcast people! We're back with S6 with a film befitting St. Patricks Day, Leprechaun 6: Back 2 Tha Hood.Lauren and Jared crack open the Negronomicon (04:65) to talk about the films they are looking forward to before springing (because according to Lauren it is SPRING) into the crit of the Leprechaun's return to tha hood. We talk kill scenes, way too much oregano,  alternative storylines, and what happens when Black characters are written from a white POV. Find Us Online- Website: www.scarycritpodcast.com- Twitter: http://twitter.com/scarycritpodcast- Instagram: http://instagram.com/scarycritpodcast   Credits- Host and Producer: Lauren La Melle Instagram: @laurenlamelle | Twitter: @laurenlamelle | Website: www.laurenlamelle.com- Host and Editor: Jared Hudson Instagram: @blossomsandbooks93 | Gems from E53:Creep (2014)Creep 2 (2017)Master (2022)Get Out (2017)The Last House on the Left (1972)The Last House on the Left (2009)The Babadook (2014)Killer Klowns from Outer Space (1988)Candyman (1992)Nope (2022)Leprechaun (1993)Leprechaun: Back 2 Tha Hood (2003)Malibu's Most Wanted (2003)Leprechaun in the Hood (2005)Leprechaun 2 (1994)Leprechaun 4: In Space (1996)Jason X (2001)Leprechaun 3 (1995)The Boys (2019)Boyz in the Hood (1991)Girlfriends (2000)South Park (1997)The Wire (2002)Dead Presidents (1995)Jason's Lyric (1994)Friday (1995)Grease (1978)Diagnosis Murder (1993)Soul Plane (2004)Ed, Edd n' Eddy (1999)The Simpsons (1989)Goosebumps (1995)Mighty Morphin Power Rangers: The Movie (1995)Charmed (1998)Teen Witch (1989)Carmen: A Hip Hopera (2001)Ghost (1990)Harry Potter (film series) (2001)Grand Theft Auto (video game series) (1997)Next Friday (2000)Paranormal Activity 2 (2010)Baby Boy (2001)Hairspray (2007)Serial Mom (1994)Pink Flamingos (1974)Shaft (1971)The Boondocks (2005)This Christmas (2007)Shout out to  AfroHorror on Clubhouse. We appreciate you for making spaces for Black horror nerds to commune and talk all things scary and spooky! 

Pour up a cup of coffee and check out my latest conversation with legendary Costume Designer Tracey A. White. She's responsible for the looks in Netflix's blue -collar comedy The Upshaws, Tales From The Hood and Carmen: A Hip Hopera. Enjoy!

The folks wanted more BMBOBMG so we gonna give the people what they want....2001 Carmen:A Hip Hopera. In this loosie episode I'm joined by Chanel(@chanelcreating on Twitter) and Cherra(@WildYoungCharm on Twitter) the First Ladies of BMBOBMG!!!!!

Pop fans, can you handle this? Because the RBAY! boys are celebrating 20 years of Destiny's Child's iconic "Survivor" era. It's nothing but pure love and emotions taking Joel and David over as they reminisce on this DC3 era - with lots of memories of karaoke and childhood choreography along the way! From the moment they returned with 'Independent Women Part 1' in the "Charlie's Angels" movie soundtrack, it was clear Beyoncé, Kelly Rowland and Michelle Williams did not come to play. This era saw the trio take control of their narrative (and destiny) with hits like 'Survivor', turning the negativity around their infamous line-up changes into pure platinum success. Join Joel and David as they revisit faves from the "Survivor" album - including 'Bootylicious', 'Emotion', 'Fancy', 'Happy Face' and 'Dangerously In Love'. But also everything else in this epic chapter of the DC Universe! From 2000 to 2002, Destiny's Child launched a No.1 album with 4 US Top 10 singles - two of which were No.1 hits. They also released a Christmas album, remix album, autobiography, and embarked on a world tour... and Beyoncé even found a moment to star in her first movie, "Carmen: A Hip Hopera". You ready? Hook on your seatbelts, it's time for take off! Follow Right Back At Ya! https://www.instagram.com/rightbackpod/ https://twitter.com/rightbackpod https://www.facebook.com/rightbackpod Check out our Spotify playlists https://open.spotify.com/user/1c3ks5jdh2x4j7jdg1o0aglwg Follow Joel https://www.instagram.com/dr_joelb/ https://twitter.com/DR_JoelB Follow David https://www.instagram.com/lovelimmy/ https://twitter.com/lovelimmy Email us rightbackpod@gmail.com 

Join us as we begin our journey through the works of one Beyoncé Knowles! This week we discuss the debut of Destiny's Child and green screen ourselves to Los Angeles in Carmen: A Hip Hopera. Please say the "A Hip Hopera."

We’re back with some updates on our faves. We celebrate 20 years of Destiny’s Child’s “Survivor” album (16:46) and Carmen: A Hip Hopera(36:49). We also bring back one of our classic segments “Kids Today Will Never Know” (43:28). DRINKING GAME: Take a sip every time Jasmine says “iconic”

Joy Bryant was born in a modest home in The Bronx, New York and as a young woman, was enrolled in an inner-city outreach organization called "A Better Chance," designed to encourage minority talent. Joy was also blessed with brains as well beauty and remained an excellent student throughout her high school years. As a result, she was awarded a full academic scholarship to Yale University. While enrolled as a full-time student at Yale, Joy was discovered by a modeling scout from Next Models Management and subsequently pursued a career as a fashion model in Paris. Her slender yet classic beauty got her an exclusive contract with prestigious brand names such as Tommy Hilfiger and the Victoria's Secret lingerie catalogue. Joy's acting debut came about in 2001 in Robert Townsend's Carmen: A Hip Hopera. An MTV production, the film also starred Beyoncé and Mekhi Phifer, along with several hip-hop superstars. After a small role in the Eddie Murphy action comedy Showtime, she made her big breakthrough in Denzel Washington's directorial debut, Antwone Fisher. In 2003, she co-starred with Jessica Alba in Bille Woodruff's romantic drama Honey. Most notably, Joy is known for Jasmine on 6 seasons of PARENTHOOD and Amazon's hit show GOOD GIRLS REVOLT. Show Links: #SELFTAPEMAY: Reserve Your Spot! COACHING: Click here for acting coaching from Alyshia CONSULTING: Click here to get consulting from Alyshia INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher GUEST LINKS:  IMDB: Joy Bryant INSTAGRAM: @joybeezy Credits: WRITER: Erin McCluskey SOUND DESIGN: Zachary Jameson WEBSITE & GRAPHICS: Chase Jennings ASSISTANT: Elle Powell SOCIAL OUTREACH: Bebe Katsenes

On this week’s episode of Black Girl Film Club Ashley and Britney discuss Carmen: A Hip-Hopera (2001)directed by Aquarian Legend Robert Townsend and starring Beyoncé Knowles-Carter, Mehki Phifer, Yasiin Bey and Reagan Gomez-Preston. Your favorite podcast hosts are back with the remix and revisiting Carmen low rise jeans, and Lil' Bow Wow in the 2020s. This week’s recommendations are Romeo Must Die (2000) and Rodgers and Hammerstein’s Cinderella (1997). Follow us on Twitter @ blkgirlfilmclub. Check us out on Instagram @ blackgirlfilmclub. Visit us at http://www.blackgirlfilmclub.com.

Few things scarier than working for rich, high-powered narcissists! (Recorded November 2020)THR’s article on Hollywood assistants in the pandemic Personal anecdotes on being assistants in entertainment Luddite bosses, boomers, narcs - the works. Catholic, Jewish and Southern Baptist guilt. Hollywood is dead from Thanksgiving through New Years Day - just accept it! Vaccines! A new administration! The hope of 2021!“No one wants to be first in Hollywood - they want to be second!”Game of Thrones, the spinoff series, et all. What GOT houses do you think we are in? All will be revealed! (Take the quiz here.)Roman and Jewel (2021 book by Dana L. Davis) - a YA novel that’s pitched as Romeo + Juliet meets Hamilton. Kiss Me Kate - Cole Porter’s 1948 musical and Shakespeare’s Taming of the ShrewWhat a showmance?MTV’s 2001 adaptation of Georges Bizet’s opera - “Carmen: A Hip Hopera” starring Beyonce KnowlesAlison Leiby’s Tweet - @AlisonLeiby “I'll say it: watching a movie on tv with commercials is GOOD.” and the ensuing discourse. AMC Network, The Shawshank Redemption (1994), Forrest Gump (1994)Our shared, favorite national pastime: Mob Week also on AMCPBS, Rick Steves and his pro-marijuana stance. *You might hear Caitlin frantically typing notes on her computer in the background - sorry!*

Join us for this Friday's Zoom Movie Night reviewing "Mortal Kombat" by RSVP'ing here! On special release of the Patreon review of "Carmen - A Hip Hopera", hosts Brandon (@americancollins) and Justin (@jbrowndidit) along with Tatiana (@boricuacollins) try to make sense of this insane Beyonce musical that defies logic, good acting and lighting!

Teaser of our review on Beyonce's "Carmen: A Hip Hopera", which is batshit crazy...we're referring to the movie AND the review! To get full access to this episode and 100+ hours of bonus content, you should sign up for our $5 tier on the Patreon page!

Show Notes Moe Factz with Adam Curry for December 2nd 2019, Episode number 17 Shaft Stache Shownotes Robert Townsend (actor) - Wikipedia Mon, 02 Dec 2019 13:13 American actor Robert Townsend (born February 6, 1957) is an American actor, director, comedian, and writer.[1][2] Townsend is best known for directing the films Hollywood Shuffle (1987), Eddie Murphy Raw (1987), The Meteor Man (1993), The Five Heartbeats (1991) and various other films and stand-up specials. He is especially known for his eponymous self-titled character, Robert Peterson as the starring role as on The WB sitcom The Parent 'Hood (1995''1999), a series which he created and of which directed select episodes. Townsend is also known for his role as Donald "Duck" Matthews in his 1991 film The Five Heartbeats.[3] He later wrote, directed and produced Making The Five Heartbeats (2018), a documentary film about the production process and behind the scenes insight into creating the film. Townsend is also known for his production company Townsend Entertainment [4] which has produced films Playin' for Love,[5] In the Hive and more. During the 1980s and early''1990s, Townsend gained national exposure through his stand-up comedy routines and appearances on The Tonight Show Starring Johnny Carson. Townsend has worked with talent including Halle Berry, Morgan Freeman, Chris Tucker, Beyonc(C), Denzel Washington and many more.[6][7][8] Early life and career [ edit ] Townsend was born in Chicago, Illinois, the second of four children[9] to Shirley (n(C)e Jenkins) and Ed Townsend. His mother ended up raising him and his three siblings as a single parent. Growing up on the city's west side, Townsend attended Austin High School; graduating in 1975.[10] He became interested in acting as a teenager. During a reading of Sophocles' Oedipus Rex in high school, Townsend captured the attention of Chicago's X Bag Theatre, The Experimental Black Actors Guild. Townsend later auditioned for parts at Chicago's Experimental Black Actors' Guild and performed in local plays studying at the famed Second City comedy workshop for improvisation in 1974. Townsend had a brief uncredited role in the 1975 movie Cooley High. After high school, Townsend enrolled at Illinois State University, studied a year and later moved to New York to study at the Negro Ensemble Company. Townsend's mother believed that he should complete his college education, but he felt that college took time away from his passion for acting, and he soon dropped out of school to pursue his acting career full-time. Career [ edit ] Townsend auditioned to be part of Saturday Night Live's 1980''1981 cast, but was rejected in favor of Eddie Murphy. In 1982, Townsend appeared as one of the main characters in the PBS series Another Page, a program produced by Kentucky Educational Television that taught literacy to adults through serialized stories. Townsend later appeared in small parts in films like A Soldier's Story (1984), directed by Norman Jewison, and after its success garnered much more substantial parts in films like The Mighty Quinn (1989) with Denzel Washington.[11][12][13] In 1987, Townsend wrote, directed and produced Hollywood Shuffle, a satire based on the hardships and obstacles that black actors undergo in the film industry. The success of his first project helped him establish himself in the industry.[6][14] Another of his films was The Five Heartbeats based on 1960s R&B male groups and the tribulations of the music industry. Townsend created and produced two television variety shows'--the CableACE award''winning Robert Townsend and His Partners in Crime for HBO, and the Fox Television variety show Townsend Television (1993). He also created and starred in the WB Network's sitcom The Parent 'Hood which originally ran from January 1995 to July 1999. In 2018, Townsend also directed 2 episodes for the B.E.T. Series American Soul which began airing in 2019. The show is about Don Cornelius and Soul Train. Townsend was programming director at the Black Family Channel, but the network folded in 2007. Townsend created The Robert Townsend Foundation, a nonprofit organization whose mission is to introduce and help new unsigned filmmakers. Awards and other credits [ edit ] Townsend directed the 2001 TV movie, Livin' for Love: The Natalie Cole Story for which Cole won the NAACP Image Award as Outstanding Actress in a Television Movie, Mini-Series or Dramatic Special. Townsend also directed two television movies in 2001 and 2002 respectively, Carmen: A Hip Hopera and 10,000 Black Men Named George. In 2013 Townsend was nominated for an Ovation Award in the category of "Lead Actor in a Musical" for his role as Dan in the La Mirada Theatre for the Performing Arts production of Next to Normal.[15] Personal life [ edit ] Townsend was married to Cheri Jones[16] from September 15, 1990, to August 9, 2001.[17] Together they have two daughters, Sierra and Skylar (Skye Townsend), both entertainers, and a son, Isiah.[6] Filmography [ edit ] Further reading [ edit ] Alexander, George. Why We Make Movies: Black Filmmakers Talk About the Magic of Cinema. Harlem Moon. 2003.Collier, Aldore. "Robert Townsend: a new kind of Hollywood dreamer. Actor-producer-director plans to make films that uplift and transform Black audiences". Ebony Magazine. 1 June 1991.Rogers, Brent. Robert Townsend Article in Perspectives. Sustaining Digital History, 12 November 2007.References [ edit ] ^ "Robert Townsend". The New York Times. ^ "As Robert Townsend Sees It : He's Fighting Stereotypes With 'Meteor Man' and New TV Show". Los Angeles Times . Retrieved 2010-10-10 . ^ The Five Heartbeats , retrieved 2019-09-16 ^ "Townsend Entertainment - IMDbPro". pro.imdb.com . Retrieved 2018-03-06 . ^ "Playin' For Love". Black Cinema Connection. 2014-11-05 . Retrieved 2018-03-06 . ^ a b c "About". Robert Townsend. Archived from the original on 2011-07-14. ^ "Carmen: A Hip Hopera", Wikipedia, 2019-08-09 , retrieved 2019-09-17 ^ B*A*P*S , retrieved 2019-09-17 ^ "Townsend, Robert (1957-)". BlackPast.Org. 2008 . Retrieved September 18, 2017 . ^ "1975 Austin High School Yearbook (Chicago, Illinois)". Classmates.com. 1975 . Retrieved September 18, 2017 . ^ Vincent Canby, "Review/Film; Tropical Murder", The New York Times, February 17, 1989. ^ The Mighty Quinn , retrieved 2019-09-17 ^ A Soldier's Story , retrieved 2019-09-17 ^ Hollywood Shuffle , retrieved 2019-09-17 ^ "2013 Ovation Awards Nominees '-- South by Southeast". thisstage.la. LA STAGE Alliance. September 16, 2013 . Retrieved 2017-04-21 . ^ "The Week's Best Photo". Google Books. JET Magazine. March 25, 1991 . Retrieved September 18, 2017 . ^ Gimenes, Erika (2001). "Robert Townsend to divorce". Hollywood.com . Retrieved September 18, 2017 . ^ "Jackie's Back! (1999)" at IMDb. External links [ edit ] Robert Townsend on IMDbRobert Townsend (Official Website) (9) Charles Woods (The Professor) - Hollywood's Tricknology: Mandingo To Malcolm X - YouTube Mon, 02 Dec 2019 12:59 Tyler Perry Mon, 02 Dec 2019 12:57 Tyler Perry is a world-renowned producer, director, actor, screenwriter, playwright, author, songwriter, entrepreneur, and philanthropist. Tyler Perry's Story Tyler Perry is a world-renowned producer, director, actor, screenwriter, playwright, author, songwriter, entrepreneur, and philanthropist. Read His Story Outreach Since 2006, The Perry Foundation's aim has been to transform tragedy into triumph by empowering the economically disadvantaged to achieve a better quality of life. We focus on health and clean water, education and technology, arts and culture, and globally-sustainable economic development. Get Involved Visit Website You are viewing Tyler Perry Entertainment. If you'd like to view the Tyler Perry Studios, click here. Black writers courageously staring down the white gaze '' this is why we all must read them | Stan Grant | Opinion | The Guardian Mon, 02 Dec 2019 12:46 The white gaze '' it is a phrase that resonates in black American literature. Writers from WEB Du Bois to Ralph Ellison to James Baldwin and Toni Morrison have struggled with it and railed against it. As Morrison '' a Nobel Laureate '' once said: Our lives have no meaning, no depth without the white gaze. And I have spent my entire writing life trying to make sure that the white gaze was not the dominant one in any of my books. The white gaze: it traps black people in white imaginations. It is the eyes of a white schoolteacher who sees a black student and lowers expectations. It is the eyes of a white cop who sees a black person and looks twice '' or worse, feels for a gun. Du Bois explored this more than a century ago in his book The Souls of Black Folk, reflecting on his conversations with white people and the ensuing delicate dance around the ''Negro problem''. Between me and the other world there is an ever unasked question'.... All, nevertheless, flutter around it ... Instead of saying directly, how does it feel to be a problem? They say, I know an excellent coloured man in my town ... To the real question '... I answer seldom a word. Baldwin was as ever more direct and piercing, writing in his book Nobody Knows My Name. I have spent most of my life ... watching white people and outwitting them so that I might survive. The flame has passed to a new generation. In 2015 three more black writers have stared down the white gaze. In their own ways Ta-Nehisi Coates, Claudia Rankine and George Yancy have held up a mirror to white America. These are uncompromising and fearless voices. Coates' searing essay Between The World And Me critiques America against a backdrop of black deaths at the hands of police. He says the country's history is rooted in slavery and the assault against the black body. In the form of a letter to his son, Coates writes: Here is what I would like for you to know: In America it is traditional to destroy the black body '' it is heritage. In Citizen '' An American Lyric, poet Rankine reflects on the black experience from the victims of Hurricane Katrina, or Trayvon Martin, a 17 year-old black youth shot dead by a neighbourhood watch volunteer who was acquitted, or black tennis star Serena Williams. In each case Rankine sees lives framed by whiteness. She writes: Because white men can't police their imagination, black men are dying. Philosophy Professor George Yancy just last week penned a letter in the New York Times addressed to ''Dear White America''. He asks his countrymen to listen with love, and to look at those things that might cause pain and terror. All white people, he says, benefit from racism and this means each, in their own way, are racist. '...don't run to seek shelter from your own racism'...practice being vulnerable. Being neither a ''good'' white person, nor a liberal white person will get you off the proverbial hook. Their unflinching work is not tempered by the fact a black man is in the White House '' that only makes their voices more urgent. Coates, Rankine, Yancy '' each has been variously praised and awarded, yet each has been pilloried as well. This is inevitable when some people don't like what the mirror reflects. It takes courage for a black person to speak to a white world, a world that can render invisible people of colour, unless they begin to more closely resemble white people themselves '' an education, a house in the suburbs, a good job, lighter skin. In Australia, too, black voices are defying the white gaze. We may not have the popular cut through of a Morrison or a Baldwin or a Coates, but we have a proud tradition '' Oodgeroo Noonuccal, Kevin Gilbert, Ruby Langford or more recently Kim Scott, Alexis Wright, Anita Heiss. I have spent some time recently reading some of the most powerful works of Indigenous writers. Their styles and genres are many and varied but there is a common and powerful theme of defiance and survival. This is a world so instantly recognisable to us '' Indigenous people '' but still so foreign to white Australia. Natalie Harkin's book of poetry, Dirty Words, is a subversive dictionary that turns English words back on their users: A is apology, B is for Boat People '... G is for Genocide ... S for Survival. ''How do you dream,'' she writes, ''When your lucky country does not sleep''. Bruce Pascoe's Dark Emu challenges the white stereotype of the ''primitive hunter gatherer''. He says the economy and culture of Indigenous people has been grossly undervalued. He cites journals and diaries of explorers and colonists to reveal the industry and ingenuity of pre-colonial Aboriginal society. He says it is a window into a world of people building dams and wells and houses, irrigating and harvesting seed and creating elaborate cemeteries. Pascoe's work demands to be taught in our schools. Tony Birch is an acclaimed novelist and his latest Ghost River is remarkable. It is the story of two friends navigating the journey into adulthood guided by the men of the river '' men others may see as homeless and hopeless. It is a work infused with a sense of place and belonging. Ellen Van Neerven's Heat and Light is a genre-busting mystical journey into identity: sexual, racial and national. It is provocative and challenging and mind bending, and altogether stunning. You won't find many of these titles in the annual best book lists. Occasionally they pop up, but not as often as they deserve. You probably won't hear much of Samuel Wagan Watson's Love Poems and Death Threats, or Ken Canning's Yimbama, or Lionel Fogarty's Eelahroo (Long Ago) Nyah (Looking) Mobo-Mobo (Future). That these works are not more widely read is a national shame. In our busy lives, try to find time for some of these books in 2016 '' read with the courage of these writers. George Yancy asks white Americans to become ''un-sutured'', to open themselves up and let go of their white innocence. Why is this important? Well, for white people it may simply be a matter of choice '' the fate of black people may not affect them. For us it is survival '' the white gaze means we die young, are locked up and locked out of work and education. We hear a lot about recognition '' acknowledging Indigenous people in the Australian constitution. But there is another recognition '' recognising the pervasive and too often destructive role of race in our lives, and the need to lift our gaze above it. Queen | Definition of Queen by Merriam-Webster Mon, 02 Dec 2019 12:40 To save this word, you'll need to log in. ËkwÄ'n 1 a : the wife or widow of a king b : the wife or widow of a tribal chief 2 a : a female monarch b : a female chieftain 3 a : a woman eminent in rank, power, or attractions a movie queen b : a goddess or a thing personified as female and having supremacy in a specified realm c : an attractive girl or woman especially : a beauty contest winner 4 : the most privileged piece of each color in a set of chessmen having the power to move in any direction across any number of unoccupied squares 5 : a playing card marked with a stylized figure of a queen 6 : the fertile fully developed female of social bees, ants, and termites whose function is to lay eggs 7 : a mature female cat kept especially for breeding 8 slang , often disparaging : a male homosexual especially : an effeminate one queened ; queening ; queens intransitive verb 1 : to act like a queen especially : to put on airs '-- usually used with it queens it over her friends 2 : to become a queen in chess the pawn queens Pan-Africanism - Wikipedia Mon, 02 Dec 2019 12:37 Worldwide movement that aims to encourage and strengthen bonds of solidarity between all people of African descent Pan-Africanism is a worldwide movement that aims to encourage and strengthen bonds of solidarity between all indigenous and diasporan ethnic groups of African descent. Based on a common goal dating back to the Atlantic slave trade, the movement extends beyond continental Africans with a substantial support base among the African diaspora in the Caribbean, Latin America, the United States and Canada and Europe.[1][2] It is based on the belief that unity is vital to economic, social, and political progress and aims to "unify and uplift" people of African descent.[3] The ideology asserts that the fate of all African people and countries[clarification needed ] are intertwined. At its core Pan-Africanism is a belief that ''African people, both on the continent and in the diaspora, share not merely a common history, but a common destiny".[4] Pan-Africanist intellectual, cultural, and political movements tend to view all Africans and descendants of Africans as belonging to a single "race" and sharing cultural unity. Pan-Africanism posits a sense of a shared historical fate for Africans in the Americas, West Indies, and, on the continent itself, has centered on the Atlantic trade in slaves, African slavery, and European imperialism.[5] The Organization of African Unity (now the African Union) was established in 1963 to safeguard the sovereignty and territorial integrity of its Member States and to promote global relations within the framework of the United Nations.[6] The African Union Commission has its seat in Addis Ababa and the Pan-African Parliament has its seat in Johannesburg and Midrand. Overview [ edit ] Pan-Africanism stresses the need for "collective self-reliance".[7] Pan-Africanism exists as a governmental and grassroots objective. Pan-African advocates include leaders such as Haile Selassie, Julius Nyerere, Ahmed S(C)kou Tour(C), Kwame Nkrumah, King Sobhuza II, Thomas Sankara and Muammar Gaddafi, grassroots organizers such as Marcus Garvey and Malcolm X, academics such as W. E. B. Du Bois, and others in the diaspora.[8][9][10] Pan-Africanists believe that solidarity will enable the continent to fulfill its potential to independently provide for all its people. Crucially, an all-African alliance would empower African people globally. The realization of the Pan-African objective would lead to "power consolidation in Africa", which "would compel a reallocation of global resources, as well as unleashing a fiercer psychological energy and political assertion...that would unsettle social and political (power) structures...in the Americas".[11] Advocates of Pan-Africanism'--i.e. "Pan-Africans" or "Pan-Africanists"'--often champion socialist principles and tend to be opposed to external political and economic involvement on the continent. Critics accuse the ideology of homogenizing the experience of people of African descent. They also point to the difficulties of reconciling current divisions within countries on the continent and within communities in the diaspora.[11] History [ edit ] As a philosophy, Pan-Africanism represents the aggregation of the historical, cultural, spiritual, artistic, scientific, and philosophical legacies of Africans from past times to the present. Pan-Africanism as an ethical system traces its origins from ancient times, and promotes values that are the product of the African civilisations and the struggles against slavery, racism, colonialism, and neo-colonialism.[8] Alongside a large number of slaves insurrections, by the end of the 19th century a political movement developed across the Americas, Europe and Africa that sought to weld disparate movements into a network of solidarity, putting an end to oppression. Another important political form of a religious Pan-Africanist worldview appeared in the form of Ethiopianism.[12] In London, the Sons of Africa was a political group addressed by Quobna Ottobah Cugoano in the 1791 edition of his book Thoughts and Sentiments on the Evil of Slavery. The group addressed meetings and organised letter-writing campaigns, published campaigning material and visited parliament. They wrote to figures such as Granville Sharp, William Pitt and other members of the white abolition movement, as well as King George III and the Prince of Wales, the future George IV. Modern Pan-Africanism began around the start of the 20th century. The African Association, later renamed the Pan-African Association, was established around 1897 by Henry Sylvester-Williams, who organized the First Pan-African Conference in London in 1900.[13][14][15] With the independence of Ghana in March 1957, Kwame Nkrumah was elected as the first Prime Minister and President of the State.[16] Nkrumah emerged as a major advocate for the unity of Independent Africa. The Ghanaian President embodied a political activist approach to pan-Africanism as he championed the "quest for regional integration of the whole of the African continent".[17] This period represented a "Golden Age of high pan-African ambitions"; the Continent had experienced revolution and decolonization from Western powers and the narrative of rebirth and solidarity had gained momentum within the pan-African movement.[17] Nkrumah's pan-African principles intended for a union between the Independent African states upon a recognition of their commonality (i.e. suppression under imperialism). Pan-Africanism under Nkrumah evolved past the assumptions of a racially exclusive movement associated with black Africa, and adopted a political discourse of regional unity [18] In April 1958, Nkrumah hosted the first All-African Peoples' Conference (AAPC) in Accra, Ghana. This Conference invited delegates of political movements and major political leaders. With the exception of South Africa, all Independent States of the Continent attended: Egypt, Ethiopia, Ghana, Liberia, Libya, Morocco, Tunisia and Sudan.[18] This Conference signified a monumental event in the pan-African movement, as it revealed a political and social union between those considered Arabic states and the black African regions. Further, the Conference espoused a common African Nationalist identity, among the States, of unity and anti-Imperialism. Frantz Fanon, journalist, freedom fighter and a member of the Algerian FLN party attended the conference as a delegate for Algeria.[19] Considering the armed struggle of the FLN against French colonial rule, the attendees of the Conference agreed to support the struggle of those States under colonial oppression. This encouraged the commitment of direct involvement in the "emancipation of the Continent; thus, a fight against colonial pressures on South Africa was declared and the full support of the FLN struggle in Algeria, against French colonial rule"".[20] In the years following 1958, Accra Conference also marked the establishment of a new foreign policy of non-alignment as between the US and USSR, and the will to establish an "African Identity" in global affairs by advocating a unity between the African States on international relations. "This would be based on the Bandung Declaration, the Charter of the UN and on loyalty to UN decisions."[20] In 1959, Nkrumah, President S(C)kou Tour(C) of Guinea and President William Tubman of Liberia met at Sanniquellie and signed the Sanniquellie Declaration outlining the principles for the achievement of the unity of Independent African States whilst maintaining a national identity and autonomous constitutional structure.[21][22] The Declaration called for a revised understanding of pan-Africanism and the uniting of the Independent States. In 1960, the second All-African Peoples' Conference was held in Addis Ababa, Ethiopia.[23] The membership of the All-African Peoples' Organisation (AAPO) had increased with the inclusion of the "Algerian Provisional Government (as they had not yet won independence), Cameroun, Guinea, Nigeria, Somalia and the United Arab Republic".[24] The Conference highlighted diverging ideologies within the movement, as Nkrumah's call for a political and economic union between the Independent African States gained little agreement. The disagreements following 1960 gave rise to two rival factions within the pan-African movement: the Casablanca Bloc and the Brazzaville Bloc.[25] In 1962, Algeria gained independence from French colonial rule and Ahmed Ben Bella assumed Presidency. Ben Bella was a strong advocate for pan-Africanism and an African Unity. Following the FLN's armed struggle for liberation, Ben Bella spoke at the UN and espoused for Independent Africa's role in providing military and financial support to the African liberation movements opposing apartheid and fighting Portuguese colonialism.[26] In search of a united voice, in 1963 at an African Summit conference in Addis Ababa, Ethiopia, 32 African states met and established the Organization of African Unity (OAU). The creation of the OAU Charter took place at this Summit and defines a coordinated "effort to raise the standard of living of member States and defend their sovereignty" by supporting freedom fighters and decolonisation.[27] Thus, was the formation of the African Liberation Committee (ALC), during the 1963 Summit. Championing the support of liberation movements, was Algeria's President Ben Bella, immediately "donated 100 million francs to its finances and was one of the first countries, of the Organisation to boycott Portuguese and South African goods".[26] In 1969, Algiers hosted the Pan-African Cultural Festival, on July 21 and it continued for eight days.[28] At this moment in history, Algeria stood as a ''beacon of African and Third-World militancy,''[28] and would come to inspire fights against colonialism around the world. The festival attracted thousands from African states and the African Diaspora, including the Black Panthers. It represented the application of the tenets of the Algerian revolution to the rest of Africa, and symbolized the re-shaping of the definition of pan-African identity under the common experience of colonialism.[28] The Festival further strengthened Algeria's President, Boumediene's standing in Africa and the Third World.[28] After the death of Kwame Nkrumah in 1972, Muammar Qaddafi assumed the mantle of leader of the Pan-Africanist movement and became the most outspoken advocate of African Unity, like Nkrumah before him '' for the advent of a "United States of Africa".[29] In the United States, the term is closely associated with Afrocentrism, an ideology of African-American identity politics that emerged during the civil rights movement of the 1960s to 1970s.[30] Concept [ edit ] As originally conceived by Henry Sylvester-Williams (although some historians[who? ] credit the idea to Edward Wilmot Blyden), Pan-Africanism referred to the unity of all continental Africa.[31] During apartheid South Africa there was a Pan Africanist Congress that dealt with the oppression of Africans in South Africa under Apartheid rule. Other pan-Africanist organisations include: Garvey's Universal Negro Improvement Association-African Communities League, TransAfrica and the International People's Democratic Uhuru Movement. Additionally, Pan-Africanism is seen as an endeavor to return to what are deemed by its proponents as singular, traditional African concepts about culture, society, and values. Examples of this include L(C)opold S(C)dar Senghor's N(C)gritude movement, and Mobutu Sese Seko's view of Authenticit(C). An important theme running through much pan-Africanist literature concerns the historical links between different countries on the continent, and the benefits of cooperation as a way of resisting imperialism and colonialism. In the 21st century, some Pan-Africanists aim to address globalisation and the problems of environmental justice. For instance, at the conference "Pan-Africanism for a New Generation"[32] held at the University of Oxford, June 2011, Ledum Mittee, the current president of the Movement for the Survival of the Ogoni People (MOSOP), argued that environmental justice movements across the African continent should create horizontal linkages in order to better protect the interests of threatened peoples and the ecological systems in which they are embedded, and upon which their survival depends. Some universities went as far as creating "Departments of Pan-African Studies" in the late 1960s. This includes the California State University, where that department was founded in 1969 as a direct reaction to the civil rights movement, and is today dedicated to "teaching students about the African World Experience", to "demonstrate to the campus and the community the richness, vibrance, diversity, and vitality of African, African American, and Caribbean cultures" and to "presenting students and the community with an Afrocentric analysis" of anti-black racism.[33]Syracuse University also offers a master's degree in "Pan African Studies".[34] Pan-African colors [ edit ] The flags of numerous states in Africa and of Pan-African groups use green, yellow and red. This colour combination was originally adopted from the 1897 flag of Ethiopia, and was inspired by the fact that Ethiopia is the continent's oldest independent nation,[35] thus making the Ethiopian green, yellow and red the closest visual representation of Pan-Africanism. This is in comparison to the Black Nationalist flag, representing political theory centred around the eugenicist caste-stratified colonial Americas.[36] The UNIA (Universal Negro Improvement Association) flag, is a tri-color flag consisting of three equal horizontal bands of (from top down) red, black and green. The UNIA formally adopted it on August 13, 1920,[37] during its month-long convention at Madison Square Garden in New York.[38][39] Variations of the flag have been used in various countries and territories in Africa and the Americas to represent Black Nationalist ideologies. Among these are the flags of Malawi, Kenya and Saint Kitts and Nevis. Several Pan-African organizations and movements have also often employed the emblematic red, black and green tri-color scheme in variety of contexts. Maafa studies [ edit ] Maafa is an aspect of Pan-African studies. The term collectively refers to 500 years of suffering (including the present) of people of African heritage through slavery, imperialism, colonialism, and other forms of oppression.[40][41] In this area of study, both the actual history and the legacy of that history are studied as a single discourse. The emphasis in the historical narrative is on African agents, as opposed to non-African agents.[42] Political parties and organizations [ edit ] In Africa [ edit ] Organisation of African Unity, succeeded by the African UnionAfrican Unification FrontRassemblement D(C)mocratique AfricainAll-African People's Revolutionary PartyConvention People's Party (Ghana)Pan-African Renaissance[43]Economic Freedom Fighters (South Africa)Pan Africanist Congress of Azania (South Africa)In the Caribbean [ edit ] The Pan-African Affairs Commission for Pan-African Affairs, a unit within the Office of the Prime Minister of Barbados.[44]African Society for Cultural Relations with Independent Africa (Guyana)Antigua Caribbean Liberation Movement (Antigua and Barbuda)Clement Payne Movement (Barbados)Marcus Garvey People's Political Party (Jamaica)Universal Negro Improvement Association and African Communities League (Jamaica)In the United Kingdom [ edit ] Pan-African FederationIn the United States [ edit ] The Council on African Affairs (CAA): founded in 1937 by Max Yergan and Paul Robeson, the CAA was the first major U.S. organization whose focus was on providing pertinent and up-to-date information about Pan-Africanism across the United States, particularly to African Americans. Probably the most successful campaign of the Council was for South African famine relief in 1946. The CAA was hopeful that, following World War II, there would be a move towards Third World independence under the trusteeship of the United Nations.[45] To the CAA's dismay, the proposals introduced by the U.S. government to the conference in April/May 1945 set no clear limits on the duration of colonialism and no motions towards allowing territorial possessions to move towards self-government.[45] Liberal supporters abandoned the CAA, and the federal government cracked down on its operations. In 1953 the CAA was charged with subversion under the McCarran Internal Security Act. Its principal leaders, including Robeson, W. E. B. Du Bois, and Alphaeus Hunton (1903''70), were subjected to harassment, indictments, and in the case of Hunton, imprisonment. Under the weight of internal disputes, government repression, and financial hardships, the Council on African Affairs disbanded in 1955.[46]The US Organization was founded in 1965 by Maulana Karenga, following the Watts riots. It is based on the synthetic African philosophy of kawaida, and is perhaps best known for creating Kwanzaa and the Nguzo Saba ("seven principles"). In the words of its founder and chair, Karenga, "the essential task of our organization Us has been and remains to provide a philosophy, a set of principles and a program which inspires a personal and social practice that not only satisfies human need but transforms people in the process, making them self-conscious agents of their own life and liberation".[47]Pan-African concepts and philosophies [ edit ] Afrocentric Pan-Africanism [ edit ] Afrocentric Pan-Africanism is espoused by Kwabena Faheem Ashanti in his book The Psychotechnology of Brainwashing: Crucifying Willie Lynch. Another newer movement that has evolved from the early Afrocentric school is the Afrisecal movement or Afrisecaism of Francis Ohanyido, a Nigerian philosopher-poet.[48] Black Nationalism is sometimes associated with this form of pan-Africanism. Kawaida [ edit ] Hip hop [ edit ] Since the late 1970s, hip hop has emerged as a powerful force that has partly shaped black identity worldwide. In his 2005 article "Hip-hop Turns 30: Whatcha Celebratin' For?", Greg Tate describes hip-hop culture as the product of a Pan-African state of mind. It is an "ethnic enclave/empowerment zone that has served as a foothold for the poorest among us to get a grip on the land of the prosperous".[49] Hip-hop unifies those of African descent globally in its movement towards greater economic, social and political power. Andreana Clay in her article "Keepin' it Real: Black Youth, Hip-Hop Culture, and Black Identity" states that hip-hop provides the world with "vivid illustrations of Black lived experience", creating bonds of black identity across the globe.[50] From a Pan-African perspective, Hip-Hop Culture can be a conduit to authenticate a black identity, and in doing so, creates a unifying and uplifting force among Africans that Pan-Africanism sets out to achieve. Pan-African art [ edit ] Further information on pan-African film festivals see: FESPACO and PAFFSee also [ edit ] Literature [ edit ] Hakim Adi & Marika Sherwood, Pan-African History: Political Figures from Africa and the Diaspora Since 1787, London: Routledgem 2003.Imanuel Geiss, Panafrikanismus. Zur Geschichte der Dekolonisation. Habilitation, EVA, Frankfurt am Main, 1968, English as: The Pan-African Movement, London: Methuen, 1974, ISBN 0-416-16710-1, and as: The Pan-African Movement. A history of Pan-Africanism in America, Europe and Africa, New York: Africana Publ., 1974, ISBN 0-8419-0161-9.Colin Legum, Pan-Africanism: A Short Political Guide, revised edition, New York: Frederick A. Praeger, 1965.Tony Martin, Pan-African Connection: From Slavery to Garvey and Beyond, Dover: The Majority Press, 1985.References [ edit ] ^ Austin, David (Fall 2007). "All Roads Led to Montreal: Black Power, the Caribbean and the Black Radical Tradition in Canada". Journal of African American History. 92 (4): 516''539 . Retrieved March 30, 2019 . ^ Oloruntoba-Oju, Omotayo (December 2012). "Pan Africanism, Myth and History in African and Caribbean Drama". Journal of Pan African Studies. 5 (8): 190 ff. ^ Frick, Janari, et al. (2006), History: Learner's Book, p. 235, South Africa: New Africa Books. ^ Makalani, Minkah (2011), "Pan-Africanism". Africana Age. ^ New Dictionary of the History of Ideas. The Gale Group, Inc. 2005. ^ About the African Union Archived January 29, 2011, at the Wayback Machine. ^ "The objectives of the PAP", The Pan-African Parliament '' 2014 and beyond. ^ a b Falola, Toyin; Essien, Kwame (2013). Pan-Africanism, and the Politics of African Citizenship and Identity. London: Routledge. pp. 71''72. ISBN 1135005192 . Retrieved September 26, 2015 . ^ Goebel, Anti-Imperial Metropolis, pp. 250''278. ^ Maguire, K., "Ghana re-evaluates Nkrumah", GlobalPost, October 21, 2009. Retrieved September 13, 2012. ^ a b Agyeman, O., Pan-Africanism and Its Detractors: A Response to Harvard's Race Effacing Universalists, Harvard University Press (1998), cited in Mawere, Munyaradzi; Tapuwa R. Mubaya, African Philosophy and Thought Systems: A Search for a Culture and Philosophy of Belonging, Langaa RPCIG (2016), p. 89. ISBN 9789956763016. Retrieved August 23, 2018. ^ "Pan-Africanism". exhibitions.nypl.org . Retrieved February 16, 2017 . ^ "A history of Pan-Africanism", New Internationalist, 326, August 2000. ^ The History of Pan Africanism, PADEAP (Pan African Development Education and Advocacy Programme). ^ Lubin, Alex, "The Contingencies of Pan-Africanism", Geographies of Liberation: The Making of an Afro-Arab Political Imaginary, Chapel Hill: University of North Carolina Press, 2014, p. 71. ^ Smith-Asante, E., "Biography of Ghana's first President, Dr Kwame Nkrumah", Graphic Online, March 8, 2016. Retrieved March 23, 2017. ^ a b Mkandawire, P. (2005). African Intellectuals: Rethinking Politics, Language, Gender and Development, Dakar: Codesria/London: Zed Books, p. 58. Retrieved March 23, 2017. ^ a b Legum, C. (1965). Pan-Africanism: a short political guide, New York, etc.: Frederick A. Praeger, p. 41. ^ Adi, H., & M. Sherwood (2003). Pan-African History: Political Figures from Africa and the Diaspora Since 1787, London: Routledge, p. 66. ^ a b Legum (1965). Pan-Africanism, p. 42. ^ Adi & Sherwood (2003). Pan-African History, p. 179. ^ Legum (1965), Pan-Africanism, p. 45. ^ Legum (1965). Pan-Africanism, p. 46. ^ Legum (1965), Pan-Africanism, p. 47. ^ Martin, G. (2012). African Political Thought, New York: Palgrave Macmillan. ^ a b Adi & Sherwood (2003), Pan-African History, p. 10. ^ "African states unite against white rule", ON THIS DAY | May25. BBC News. Retrieved March 23, 2017. ^ a b c d Evans, M., & J. Phillips (2008). Algeria: Anger of the Dispossessed, Yale University Press, pp. 97''98. ^ Martin, G. (December 23, 2012). African Political Thought. Springer. ISBN 9781137062055. ^ See e.g. Ronald W. Walters, Pan Africanism in the African Diaspora: An Analysis of Modern Afrocentric Political Movements, African American Life Series, Wayne State University Press, 1997, p. 68. ^ Campbell, Crystal Z. (December 2006). "Sculpting a Pan-African Culture in the Art of N(C)gritude: A Model for African Artist" (PDF) . The Journal of Pan African Studies. Archived from the original on June 1, 2015. CS1 maint: BOT: original-url status unknown (link) ^ Oxford University African Society Conference, Corpus Christi College, Oxford University, May 5, 2012. ^ "About Us". Csus.edu . Retrieved October 15, 2015 . ^ The M.A. in Pan African Studies Archived October 25, 2014, at the Wayback Machine, African American Studies at Syracuse University. ^ Smith, Whitney (2001). Flag Lore of All Nations . Millbrook Press. p. 36. ISBN 0761317538 . Retrieved October 7, 2014 . ^ Lionel K., McPherson; Shelby, Tommie (Spring 2004). "Blackness and Blood: Interpreting African American Identity" (PDF) . Philosophy and Public Affairs. 32: 171''192. ^ Wikisource contributors, "The Declaration of the Rights of the Negro Peoples of the World", Wikisource, The Free Library. (Retrieved October 6, 2007). ^ "25,000 Negroes Convene: International Gathering Will Prepare Own Bill of Rights", The New York Times, August 2, 1920. Proquest. Retrieved October 5, 2007. ^ "Negroes Adopt Bill Of Rights: Convention Approves Plan for African Republic and Sets to Work on Preparation of Constitution of the Colored Race Negro Complaints Aggression Condemned Recognition Demanded". The Christian Science Monitor, August 17, 1920. Proquest. Retrieved October 5, 2007. ^ "What Holocaust". "Glenn Reitz". Archived from the original on October 18, 2007. ^ "The Maafa, African Holocaust". Swagga. ^ Ogunleye, Tolagbe (1997). "African American Folklore: Its Role in Reconstructing African American History". Journal of Black Studies. 27 (4): 435''455. ISSN 0021-9347. ^ "Pan-African Renaissance". ^ Rodney Worrell (2005). Pan-Africanism in Barbados: An Analysis of the Activities of the Major 20th-century Pan-African Formations in Barbados. New Academia Publishing, LLC. pp. 99''102. ISBN 978-0-9744934-6-6. ^ a b Duberman, Martin. Paul Robeson, 1989, pp. 296''97. ^ "Council on African Affairs", African Activist Archive. ^ "Philosophy, Principles, and Program". The Organization Us. ^ "Francis Okechukwu Ohanyido". African Resource. ^ Tate, Greg, "Hip-hop Turns 30: Whatcha Celebratin' For?", Village Voice, January 4, 2005. ^ Clay, Andreana. "Keepin' it Real: Black Youth, Hip-Hop Culture, and Black Identity". In American Behavioral Scientist, Vol. 46.10 (2003): 1346''58. External links [ edit ] SNCC Digital Gateway: Pan-Africanism'--Digital documentary website created by the SNCC Legacy Project and Duke University, telling the story of the Student Nonviolent Coordinating Committee & grassroots organizing from the inside-outAfrican UnionAfrican Code Unity Through DiversityA-APRP WebsiteThe Major Pan-African news and articles siteProfessor David Murphy (November 15, 2015). "The Performance of Pan-Africanism: performing black identity at major pan-African festivals, 1966''2010" (Podcast). The University of Edinburgh . Retrieved January 28, 2016 '' via Soundcloud. Ebro Darden - Wikipedia Mon, 02 Dec 2019 12:36 Ebro Darden BornIbrahim Jamil Darden ( 1975-03-17 ) March 17, 1975 (age 44) NationalityAmericanOccupationMedia executiveradio personalityYears active1990''presentKnown forHot 97 radio personalityBeats1 DJChildren1Websitewww.EbroDarden.comIbrahim "Ebro" Darden (born March 17, 1975) is an American media executive and radio personality. Until 2014, he was Vice President of Programming for Emmis Communications' New York contemporary urban station WQHT (Hot 97). He is currently a co-host on the Hot 97 morning show, Ebro in the Morning, alongside Peter Rosenberg, and Laura Stylez. As of 2015, Darden also hosts a hip hop music-based radio show on Beats 1. Early life [ edit ] Darden was born to a black father and a Jewish mother. He attended a Pentecostal church and Hebrew school while growing up in Oakland and Sacramento.[1] Career [ edit ] Start in radio [ edit ] Darden began his career in radio in 1990 at KSFM in Sacramento, California, while he was still a teenager. At KSFM he worked in research and as a sales runner until moving into programming as an intern, and later co-hosting for KSFM's night and morning shows. In 1997, he worked at KBMB in Sacramento as Programming and Music Director, as well as an afternoon host. Eventually, Darden became Operations Manager at KBMB, while also co-hosting mornings at KXJM in Portland, Oregon, in 1999. Hot 97 [ edit ] In 2003, Darden became Music Director for WQHT, ultimately becoming the Program Director for the station in 2007.[2][3][4] Darden worked alongside several past WQHT Hot 97 morning show co-hosts including Star and Bucwild, Miss Jones, DJ Envy, Sway, and Joe Budden from 2004 to 2007, and introduced Cipha Sounds and Peter Rosenberg to the AM drive in 2009. He rejoined the Hot 97 Morning Show in 2012, alongside Cipha Sounds, Peter Rosenberg, and Laura Stylez. As Programming Director and on-air host, Darden was the main voice of several events at Hot 97 including Nicki Minaj's relationship with the station, and her alleged sexual relationship with the host; Hurricane Sandy; and Mister Cee's personal life.[5] In 2014, VH1 announced a new unscripted comedy series, This Is Hot 97, which featured Darden and fellow hosts including Angie Martinez, Funkmaster Flex, Peter Rosenberg, Cipha Sounds, Miss Info, and Laura Stylez.[6] Beats 1 [ edit ] In addition to his current on-air role at Hot 97, Darden is now one of three anchor DJs on Beats 1, an Internet radio service from Apple Music. Feuds and controversy [ edit ] A comedic rivalry between Darden and fellow accomplished radio personality Charlamagne Tha God of Power 105.1 has been ongoing for years. In May 2017, Darden clarified their relationship, stating, "The stuff we do on the radio is stupid. It's for fun. I make fun of you for fun. That's it. It's not that deep... me and that dude don't have a personal problem... a personal relationship".[7] Darden was mentioned in Remy Ma's "shETHER" diss track, on which Ma insinuated that he slept with Nicki Minaj by stating "Coke head, you cheated on your man with Ebro". After jokingly going back and forth with both Ma and her husband Papoose on social media, Darden denied the rumors, stating that he and Minaj had only a professional relationship.[8] Ebro has been in an ongoing feud with Brooklyn artist 6ix9ine. Ebro made fun of 6ix9ine as looking like a clown and criticized him for bragging about streaming numbers,[9] and 6ix9ine responded on the song "Stoopid" with the line "That nigga Ebro, he a bitch/Just another old nigga on a young nigga dick." [10] Personal life [ edit ] Darden has a daughter, Isa, who was born in 2014.[11] Recognition [ edit ] In 2013, he was recognized by Radio Ink as a future African American leader.[12] Filmography [ edit ] References [ edit ] Queen & Slim (2019) - IMDb Mon, 02 Dec 2019 12:13 3 nominations. See more awards >> Learn more More Like This Comedy | Crime | Drama 1 2 3 4 5 6 7 8 9 10 8.1 / 10 X A detective investigates the death of a patriarch of an eccentric, combative family. Director:Rian Johnson Stars:Daniel Craig,Chris Evans,Ana de Armas Action | Crime | Drama 1 2 3 4 5 6 7 8 9 10 6.6 / 10 X An embattled NYPD detective is thrust into a citywide manhunt for a pair of cop killers after uncovering a massive and unexpected conspiracy. Director:Brian Kirk Stars:Chadwick Boseman,Sienna Miller,J.K. Simmons Action | Biography | Drama 1 2 3 4 5 6 7 8 9 10 6.5 / 10 X The extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America's greatest heroes, whose courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history. Director:Kasi Lemmons Stars:Cynthia Erivo,Leslie Odom Jr.,Joe Alwyn Biography | Drama 1 2 3 4 5 6 7 8 9 10 7.9 / 10 X Based on the true story of a real-life friendship between Fred Rogers and journalist Tom Junod. Director:Marielle Heller Stars:Tom Hanks,Matthew Rhys,Chris Cooper Drama 1 2 3 4 5 6 7 8 9 10 7.2 / 10 X A young actor's stormy childhood and early adult years as he struggles to reconcile with his father and deal with his mental health. Director:Alma Har'el Stars:Shia LaBeouf,Lucas Hedges,Noah Jupe Drama | Romance | Sport 1 2 3 4 5 6 7 8 9 10 7.7 / 10 X Traces the journey of a suburban family - led by a well-intentioned but domineering father - as they navigate love, forgiveness, and coming together in the aftermath of a loss. Director:Trey Edward Shults Stars:Taylor Russell,Kelvin Harrison Jr.,Alexa Demie Comedy | Drama | War 1 2 3 4 5 6 7 8 9 10 8.1 / 10 X A young boy in Hitler's army finds out his mother is hiding a Jewish girl in their home. Director:Taika Waititi Stars:Roman Griffin Davis,Thomasin McKenzie,Scarlett Johansson Action | Crime | Drama 1 2 3 4 5 6 7 8 9 10 5.7 / 10 X A rookie New Orleans police officer is forced to balance her identity as a black woman after she witnesses two corrupt cops committing murder. Director:Deon Taylor Stars:Naomie Harris,Frank Grillo,Mike Colter Biography | Drama | History 1 2 3 4 5 6 7 8 9 10 7.3 / 10 X A corporate defense attorney takes on an environmental lawsuit against a chemical company that exposes a lengthy history of pollution. Director:Todd Haynes Stars:Anne Hathaway,Mark Ruffalo,William Jackson Harper Drama | Fantasy | Horror 1 2 3 4 5 6 7 8 9 10 8.3 / 10 X Two lighthouse keepers try to maintain their sanity while living on a remote and mysterious New England island in the 1890s. Director:Robert Eggers Stars:Willem Dafoe,Robert Pattinson,Valeriia Karaman Crime | Drama | Mystery 1 2 3 4 5 6 7 8 9 10 6.5 / 10 X Consummate con man Roy Courtnay has set his sights on his latest mark: the recently widowed Betty McLeish, worth millions. But this time, what should have been a simple swindle escalates into a cat-and-mouse game with the ultimate stakes. Director:Bill Condon Stars:Helen Mirren,Ian McKellen,Russell Tovey Crime | Drama | Mystery 1 2 3 4 5 6 7 8 9 10 7.1 / 10 X In 1950s New York, a lonely private detective afflicted with Tourette's Syndrome ventures to solve the murder of his mentor and only friend. Director:Edward Norton Stars:Edward Norton,Gugu Mbatha-Raw,Alec Baldwin Edit Storyline Slim and Queen's first date takes an unexpected turn when a policeman pulls them over for a minor traffic violation. When the situation escalates, Slim takes the officer's gun and shoots him in self-defence. Now labelled cop killers in the media, Slim and Queen feel that they have no choice but to go on the run and evade the law. When a video of the incident goes viral, the unwitting outlaws soon become a symbol of trauma, terror, grief and pain for people all across the country Written bystmc-25959 Plot Summary | Add Synopsis Motion Picture Rating (MPAA) Rated R for violence, some strong sexuality, nudity, pervasive language, and brief drug use. | See all certifications >> Edit Details Release Date: 27 November 2019 (USA) See more >> Edit Box Office Opening Weekend USA: $11,700,000, 1 December 2019 Gross USA: $15,810,000 Cumulative Worldwide Gross: $15,810,000 See more on IMDbPro >> Company Credits Technical Specs Runtime: 131 min Aspect Ratio: 2.39 : 1 See full technical specs >> Edit Did You Know? Trivia First feature film to be directed by Melina Matsoukas, who has previously only directed music videos and TV episodes. See more >> Quotes Slim :Are you tryin' to die? Queen :No. I just always wanted to do that. Slim :Well, don't do it while I'm drivin' Queen :You should try it. Slim :Nah, I'm good. Queen :Pull over. Slim :Na-ah. Queen :Come on! Pull over. Pull over! Slim :If I do, would you please, let me drive the rest of the way it is? Queen :Swear to God. [...] See more >> Explore popular and recently added TV series available to stream now with Prime Video. Start your free trial Music in this episode Intro: Puff Daddy - It's all about the benjamins Outro: Blue Magic - Sideshow Donate to the show at moefundme.com Search for us in your podcast directory or use this link to subscribe to the feed Podcast Feed For more information: MoeFactz.com

Show Notes Moe Factz with Adam Curry for December 2nd 2019, Episode number 17 Shaft Stache Shownotes Robert Townsend (actor) - Wikipedia Mon, 02 Dec 2019 13:13 American actor Robert Townsend (born February 6, 1957) is an American actor, director, comedian, and writer.[1][2] Townsend is best known for directing the films Hollywood Shuffle (1987), Eddie Murphy Raw (1987), The Meteor Man (1993), The Five Heartbeats (1991) and various other films and stand-up specials. He is especially known for his eponymous self-titled character, Robert Peterson as the starring role as on The WB sitcom The Parent 'Hood (1995''1999), a series which he created and of which directed select episodes. Townsend is also known for his role as Donald "Duck" Matthews in his 1991 film The Five Heartbeats.[3] He later wrote, directed and produced Making The Five Heartbeats (2018), a documentary film about the production process and behind the scenes insight into creating the film. Townsend is also known for his production company Townsend Entertainment [4] which has produced films Playin' for Love,[5] In the Hive and more. During the 1980s and early''1990s, Townsend gained national exposure through his stand-up comedy routines and appearances on The Tonight Show Starring Johnny Carson. Townsend has worked with talent including Halle Berry, Morgan Freeman, Chris Tucker, Beyonc(C), Denzel Washington and many more.[6][7][8] Early life and career [ edit ] Townsend was born in Chicago, Illinois, the second of four children[9] to Shirley (n(C)e Jenkins) and Ed Townsend. His mother ended up raising him and his three siblings as a single parent. Growing up on the city's west side, Townsend attended Austin High School; graduating in 1975.[10] He became interested in acting as a teenager. During a reading of Sophocles' Oedipus Rex in high school, Townsend captured the attention of Chicago's X Bag Theatre, The Experimental Black Actors Guild. Townsend later auditioned for parts at Chicago's Experimental Black Actors' Guild and performed in local plays studying at the famed Second City comedy workshop for improvisation in 1974. Townsend had a brief uncredited role in the 1975 movie Cooley High. After high school, Townsend enrolled at Illinois State University, studied a year and later moved to New York to study at the Negro Ensemble Company. Townsend's mother believed that he should complete his college education, but he felt that college took time away from his passion for acting, and he soon dropped out of school to pursue his acting career full-time. Career [ edit ] Townsend auditioned to be part of Saturday Night Live's 1980''1981 cast, but was rejected in favor of Eddie Murphy. In 1982, Townsend appeared as one of the main characters in the PBS series Another Page, a program produced by Kentucky Educational Television that taught literacy to adults through serialized stories. Townsend later appeared in small parts in films like A Soldier's Story (1984), directed by Norman Jewison, and after its success garnered much more substantial parts in films like The Mighty Quinn (1989) with Denzel Washington.[11][12][13] In 1987, Townsend wrote, directed and produced Hollywood Shuffle, a satire based on the hardships and obstacles that black actors undergo in the film industry. The success of his first project helped him establish himself in the industry.[6][14] Another of his films was The Five Heartbeats based on 1960s R&B male groups and the tribulations of the music industry. Townsend created and produced two television variety shows'--the CableACE award''winning Robert Townsend and His Partners in Crime for HBO, and the Fox Television variety show Townsend Television (1993). He also created and starred in the WB Network's sitcom The Parent 'Hood which originally ran from January 1995 to July 1999. In 2018, Townsend also directed 2 episodes for the B.E.T. Series American Soul which began airing in 2019. The show is about Don Cornelius and Soul Train. Townsend was programming director at the Black Family Channel, but the network folded in 2007. Townsend created The Robert Townsend Foundation, a nonprofit organization whose mission is to introduce and help new unsigned filmmakers. Awards and other credits [ edit ] Townsend directed the 2001 TV movie, Livin' for Love: The Natalie Cole Story for which Cole won the NAACP Image Award as Outstanding Actress in a Television Movie, Mini-Series or Dramatic Special. Townsend also directed two television movies in 2001 and 2002 respectively, Carmen: A Hip Hopera and 10,000 Black Men Named George. In 2013 Townsend was nominated for an Ovation Award in the category of "Lead Actor in a Musical" for his role as Dan in the La Mirada Theatre for the Performing Arts production of Next to Normal.[15] Personal life [ edit ] Townsend was married to Cheri Jones[16] from September 15, 1990, to August 9, 2001.[17] Together they have two daughters, Sierra and Skylar (Skye Townsend), both entertainers, and a son, Isiah.[6] Filmography [ edit ] Further reading [ edit ] Alexander, George. Why We Make Movies: Black Filmmakers Talk About the Magic of Cinema. Harlem Moon. 2003.Collier, Aldore. "Robert Townsend: a new kind of Hollywood dreamer. Actor-producer-director plans to make films that uplift and transform Black audiences". Ebony Magazine. 1 June 1991.Rogers, Brent. Robert Townsend Article in Perspectives. Sustaining Digital History, 12 November 2007.References [ edit ] ^ "Robert Townsend". The New York Times. ^ "As Robert Townsend Sees It : He's Fighting Stereotypes With 'Meteor Man' and New TV Show". Los Angeles Times . Retrieved 2010-10-10 . ^ The Five Heartbeats , retrieved 2019-09-16 ^ "Townsend Entertainment - IMDbPro". pro.imdb.com . Retrieved 2018-03-06 . ^ "Playin' For Love". Black Cinema Connection. 2014-11-05 . Retrieved 2018-03-06 . ^ a b c "About". Robert Townsend. Archived from the original on 2011-07-14. ^ "Carmen: A Hip Hopera", Wikipedia, 2019-08-09 , retrieved 2019-09-17 ^ B*A*P*S , retrieved 2019-09-17 ^ "Townsend, Robert (1957-)". BlackPast.Org. 2008 . Retrieved September 18, 2017 . ^ "1975 Austin High School Yearbook (Chicago, Illinois)". Classmates.com. 1975 . Retrieved September 18, 2017 . ^ Vincent Canby, "Review/Film; Tropical Murder", The New York Times, February 17, 1989. ^ The Mighty Quinn , retrieved 2019-09-17 ^ A Soldier's Story , retrieved 2019-09-17 ^ Hollywood Shuffle , retrieved 2019-09-17 ^ "2013 Ovation Awards Nominees '-- South by Southeast". thisstage.la. LA STAGE Alliance. September 16, 2013 . Retrieved 2017-04-21 . ^ "The Week's Best Photo". Google Books. JET Magazine. March 25, 1991 . Retrieved September 18, 2017 . ^ Gimenes, Erika (2001). "Robert Townsend to divorce". Hollywood.com . Retrieved September 18, 2017 . ^ "Jackie's Back! (1999)" at IMDb. External links [ edit ] Robert Townsend on IMDbRobert Townsend (Official Website) (9) Charles Woods (The Professor) - Hollywood's Tricknology: Mandingo To Malcolm X - YouTube Mon, 02 Dec 2019 12:59 Tyler Perry Mon, 02 Dec 2019 12:57 Tyler Perry is a world-renowned producer, director, actor, screenwriter, playwright, author, songwriter, entrepreneur, and philanthropist. Tyler Perry's Story Tyler Perry is a world-renowned producer, director, actor, screenwriter, playwright, author, songwriter, entrepreneur, and philanthropist. Read His Story Outreach Since 2006, The Perry Foundation's aim has been to transform tragedy into triumph by empowering the economically disadvantaged to achieve a better quality of life. We focus on health and clean water, education and technology, arts and culture, and globally-sustainable economic development. Get Involved Visit Website You are viewing Tyler Perry Entertainment. If you'd like to view the Tyler Perry Studios, click here. Black writers courageously staring down the white gaze '' this is why we all must read them | Stan Grant | Opinion | The Guardian Mon, 02 Dec 2019 12:46 The white gaze '' it is a phrase that resonates in black American literature. Writers from WEB Du Bois to Ralph Ellison to James Baldwin and Toni Morrison have struggled with it and railed against it. As Morrison '' a Nobel Laureate '' once said: Our lives have no meaning, no depth without the white gaze. And I have spent my entire writing life trying to make sure that the white gaze was not the dominant one in any of my books. The white gaze: it traps black people in white imaginations. It is the eyes of a white schoolteacher who sees a black student and lowers expectations. It is the eyes of a white cop who sees a black person and looks twice '' or worse, feels for a gun. Du Bois explored this more than a century ago in his book The Souls of Black Folk, reflecting on his conversations with white people and the ensuing delicate dance around the ''Negro problem''. Between me and the other world there is an ever unasked question'.... All, nevertheless, flutter around it ... Instead of saying directly, how does it feel to be a problem? They say, I know an excellent coloured man in my town ... To the real question '... I answer seldom a word. Baldwin was as ever more direct and piercing, writing in his book Nobody Knows My Name. I have spent most of my life ... watching white people and outwitting them so that I might survive. The flame has passed to a new generation. In 2015 three more black writers have stared down the white gaze. In their own ways Ta-Nehisi Coates, Claudia Rankine and George Yancy have held up a mirror to white America. These are uncompromising and fearless voices. Coates' searing essay Between The World And Me critiques America against a backdrop of black deaths at the hands of police. He says the country's history is rooted in slavery and the assault against the black body. In the form of a letter to his son, Coates writes: Here is what I would like for you to know: In America it is traditional to destroy the black body '' it is heritage. In Citizen '' An American Lyric, poet Rankine reflects on the black experience from the victims of Hurricane Katrina, or Trayvon Martin, a 17 year-old black youth shot dead by a neighbourhood watch volunteer who was acquitted, or black tennis star Serena Williams. In each case Rankine sees lives framed by whiteness. She writes: Because white men can't police their imagination, black men are dying. Philosophy Professor George Yancy just last week penned a letter in the New York Times addressed to ''Dear White America''. He asks his countrymen to listen with love, and to look at those things that might cause pain and terror. All white people, he says, benefit from racism and this means each, in their own way, are racist. '...don't run to seek shelter from your own racism'...practice being vulnerable. Being neither a ''good'' white person, nor a liberal white person will get you off the proverbial hook. Their unflinching work is not tempered by the fact a black man is in the White House '' that only makes their voices more urgent. Coates, Rankine, Yancy '' each has been variously praised and awarded, yet each has been pilloried as well. This is inevitable when some people don't like what the mirror reflects. It takes courage for a black person to speak to a white world, a world that can render invisible people of colour, unless they begin to more closely resemble white people themselves '' an education, a house in the suburbs, a good job, lighter skin. In Australia, too, black voices are defying the white gaze. We may not have the popular cut through of a Morrison or a Baldwin or a Coates, but we have a proud tradition '' Oodgeroo Noonuccal, Kevin Gilbert, Ruby Langford or more recently Kim Scott, Alexis Wright, Anita Heiss. I have spent some time recently reading some of the most powerful works of Indigenous writers. Their styles and genres are many and varied but there is a common and powerful theme of defiance and survival. This is a world so instantly recognisable to us '' Indigenous people '' but still so foreign to white Australia. Natalie Harkin's book of poetry, Dirty Words, is a subversive dictionary that turns English words back on their users: A is apology, B is for Boat People '... G is for Genocide ... S for Survival. ''How do you dream,'' she writes, ''When your lucky country does not sleep''. Bruce Pascoe's Dark Emu challenges the white stereotype of the ''primitive hunter gatherer''. He says the economy and culture of Indigenous people has been grossly undervalued. He cites journals and diaries of explorers and colonists to reveal the industry and ingenuity of pre-colonial Aboriginal society. He says it is a window into a world of people building dams and wells and houses, irrigating and harvesting seed and creating elaborate cemeteries. Pascoe's work demands to be taught in our schools. Tony Birch is an acclaimed novelist and his latest Ghost River is remarkable. It is the story of two friends navigating the journey into adulthood guided by the men of the river '' men others may see as homeless and hopeless. It is a work infused with a sense of place and belonging. Ellen Van Neerven's Heat and Light is a genre-busting mystical journey into identity: sexual, racial and national. It is provocative and challenging and mind bending, and altogether stunning. You won't find many of these titles in the annual best book lists. Occasionally they pop up, but not as often as they deserve. You probably won't hear much of Samuel Wagan Watson's Love Poems and Death Threats, or Ken Canning's Yimbama, or Lionel Fogarty's Eelahroo (Long Ago) Nyah (Looking) Mobo-Mobo (Future). That these works are not more widely read is a national shame. In our busy lives, try to find time for some of these books in 2016 '' read with the courage of these writers. George Yancy asks white Americans to become ''un-sutured'', to open themselves up and let go of their white innocence. Why is this important? Well, for white people it may simply be a matter of choice '' the fate of black people may not affect them. For us it is survival '' the white gaze means we die young, are locked up and locked out of work and education. We hear a lot about recognition '' acknowledging Indigenous people in the Australian constitution. But there is another recognition '' recognising the pervasive and too often destructive role of race in our lives, and the need to lift our gaze above it. Queen | Definition of Queen by Merriam-Webster Mon, 02 Dec 2019 12:40 To save this word, you'll need to log in. ËkwÄ'n 1 a : the wife or widow of a king b : the wife or widow of a tribal chief 2 a : a female monarch b : a female chieftain 3 a : a woman eminent in rank, power, or attractions a movie queen b : a goddess or a thing personified as female and having supremacy in a specified realm c : an attractive girl or woman especially : a beauty contest winner 4 : the most privileged piece of each color in a set of chessmen having the power to move in any direction across any number of unoccupied squares 5 : a playing card marked with a stylized figure of a queen 6 : the fertile fully developed female of social bees, ants, and termites whose function is to lay eggs 7 : a mature female cat kept especially for breeding 8 slang , often disparaging : a male homosexual especially : an effeminate one queened ; queening ; queens intransitive verb 1 : to act like a queen especially : to put on airs '-- usually used with it queens it over her friends 2 : to become a queen in chess the pawn queens Pan-Africanism - Wikipedia Mon, 02 Dec 2019 12:37 Worldwide movement that aims to encourage and strengthen bonds of solidarity between all people of African descent Pan-Africanism is a worldwide movement that aims to encourage and strengthen bonds of solidarity between all indigenous and diasporan ethnic groups of African descent. Based on a common goal dating back to the Atlantic slave trade, the movement extends beyond continental Africans with a substantial support base among the African diaspora in the Caribbean, Latin America, the United States and Canada and Europe.[1][2] It is based on the belief that unity is vital to economic, social, and political progress and aims to "unify and uplift" people of African descent.[3] The ideology asserts that the fate of all African people and countries[clarification needed ] are intertwined. At its core Pan-Africanism is a belief that ''African people, both on the continent and in the diaspora, share not merely a common history, but a common destiny".[4] Pan-Africanist intellectual, cultural, and political movements tend to view all Africans and descendants of Africans as belonging to a single "race" and sharing cultural unity. Pan-Africanism posits a sense of a shared historical fate for Africans in the Americas, West Indies, and, on the continent itself, has centered on the Atlantic trade in slaves, African slavery, and European imperialism.[5] The Organization of African Unity (now the African Union) was established in 1963 to safeguard the sovereignty and territorial integrity of its Member States and to promote global relations within the framework of the United Nations.[6] The African Union Commission has its seat in Addis Ababa and the Pan-African Parliament has its seat in Johannesburg and Midrand. Overview [ edit ] Pan-Africanism stresses the need for "collective self-reliance".[7] Pan-Africanism exists as a governmental and grassroots objective. Pan-African advocates include leaders such as Haile Selassie, Julius Nyerere, Ahmed S(C)kou Tour(C), Kwame Nkrumah, King Sobhuza II, Thomas Sankara and Muammar Gaddafi, grassroots organizers such as Marcus Garvey and Malcolm X, academics such as W. E. B. Du Bois, and others in the diaspora.[8][9][10] Pan-Africanists believe that solidarity will enable the continent to fulfill its potential to independently provide for all its people. Crucially, an all-African alliance would empower African people globally. The realization of the Pan-African objective would lead to "power consolidation in Africa", which "would compel a reallocation of global resources, as well as unleashing a fiercer psychological energy and political assertion...that would unsettle social and political (power) structures...in the Americas".[11] Advocates of Pan-Africanism'--i.e. "Pan-Africans" or "Pan-Africanists"'--often champion socialist principles and tend to be opposed to external political and economic involvement on the continent. Critics accuse the ideology of homogenizing the experience of people of African descent. They also point to the difficulties of reconciling current divisions within countries on the continent and within communities in the diaspora.[11] History [ edit ] As a philosophy, Pan-Africanism represents the aggregation of the historical, cultural, spiritual, artistic, scientific, and philosophical legacies of Africans from past times to the present. Pan-Africanism as an ethical system traces its origins from ancient times, and promotes values that are the product of the African civilisations and the struggles against slavery, racism, colonialism, and neo-colonialism.[8] Alongside a large number of slaves insurrections, by the end of the 19th century a political movement developed across the Americas, Europe and Africa that sought to weld disparate movements into a network of solidarity, putting an end to oppression. Another important political form of a religious Pan-Africanist worldview appeared in the form of Ethiopianism.[12] In London, the Sons of Africa was a political group addressed by Quobna Ottobah Cugoano in the 1791 edition of his book Thoughts and Sentiments on the Evil of Slavery. The group addressed meetings and organised letter-writing campaigns, published campaigning material and visited parliament. They wrote to figures such as Granville Sharp, William Pitt and other members of the white abolition movement, as well as King George III and the Prince of Wales, the future George IV. Modern Pan-Africanism began around the start of the 20th century. The African Association, later renamed the Pan-African Association, was established around 1897 by Henry Sylvester-Williams, who organized the First Pan-African Conference in London in 1900.[13][14][15] With the independence of Ghana in March 1957, Kwame Nkrumah was elected as the first Prime Minister and President of the State.[16] Nkrumah emerged as a major advocate for the unity of Independent Africa. The Ghanaian President embodied a political activist approach to pan-Africanism as he championed the "quest for regional integration of the whole of the African continent".[17] This period represented a "Golden Age of high pan-African ambitions"; the Continent had experienced revolution and decolonization from Western powers and the narrative of rebirth and solidarity had gained momentum within the pan-African movement.[17] Nkrumah's pan-African principles intended for a union between the Independent African states upon a recognition of their commonality (i.e. suppression under imperialism). Pan-Africanism under Nkrumah evolved past the assumptions of a racially exclusive movement associated with black Africa, and adopted a political discourse of regional unity [18] In April 1958, Nkrumah hosted the first All-African Peoples' Conference (AAPC) in Accra, Ghana. This Conference invited delegates of political movements and major political leaders. With the exception of South Africa, all Independent States of the Continent attended: Egypt, Ethiopia, Ghana, Liberia, Libya, Morocco, Tunisia and Sudan.[18] This Conference signified a monumental event in the pan-African movement, as it revealed a political and social union between those considered Arabic states and the black African regions. Further, the Conference espoused a common African Nationalist identity, among the States, of unity and anti-Imperialism. Frantz Fanon, journalist, freedom fighter and a member of the Algerian FLN party attended the conference as a delegate for Algeria.[19] Considering the armed struggle of the FLN against French colonial rule, the attendees of the Conference agreed to support the struggle of those States under colonial oppression. This encouraged the commitment of direct involvement in the "emancipation of the Continent; thus, a fight against colonial pressures on South Africa was declared and the full support of the FLN struggle in Algeria, against French colonial rule"".[20] In the years following 1958, Accra Conference also marked the establishment of a new foreign policy of non-alignment as between the US and USSR, and the will to establish an "African Identity" in global affairs by advocating a unity between the African States on international relations. "This would be based on the Bandung Declaration, the Charter of the UN and on loyalty to UN decisions."[20] In 1959, Nkrumah, President S(C)kou Tour(C) of Guinea and President William Tubman of Liberia met at Sanniquellie and signed the Sanniquellie Declaration outlining the principles for the achievement of the unity of Independent African States whilst maintaining a national identity and autonomous constitutional structure.[21][22] The Declaration called for a revised understanding of pan-Africanism and the uniting of the Independent States. In 1960, the second All-African Peoples' Conference was held in Addis Ababa, Ethiopia.[23] The membership of the All-African Peoples' Organisation (AAPO) had increased with the inclusion of the "Algerian Provisional Government (as they had not yet won independence), Cameroun, Guinea, Nigeria, Somalia and the United Arab Republic".[24] The Conference highlighted diverging ideologies within the movement, as Nkrumah's call for a political and economic union between the Independent African States gained little agreement. The disagreements following 1960 gave rise to two rival factions within the pan-African movement: the Casablanca Bloc and the Brazzaville Bloc.[25] In 1962, Algeria gained independence from French colonial rule and Ahmed Ben Bella assumed Presidency. Ben Bella was a strong advocate for pan-Africanism and an African Unity. Following the FLN's armed struggle for liberation, Ben Bella spoke at the UN and espoused for Independent Africa's role in providing military and financial support to the African liberation movements opposing apartheid and fighting Portuguese colonialism.[26] In search of a united voice, in 1963 at an African Summit conference in Addis Ababa, Ethiopia, 32 African states met and established the Organization of African Unity (OAU). The creation of the OAU Charter took place at this Summit and defines a coordinated "effort to raise the standard of living of member States and defend their sovereignty" by supporting freedom fighters and decolonisation.[27] Thus, was the formation of the African Liberation Committee (ALC), during the 1963 Summit. Championing the support of liberation movements, was Algeria's President Ben Bella, immediately "donated 100 million francs to its finances and was one of the first countries, of the Organisation to boycott Portuguese and South African goods".[26] In 1969, Algiers hosted the Pan-African Cultural Festival, on July 21 and it continued for eight days.[28] At this moment in history, Algeria stood as a ''beacon of African and Third-World militancy,''[28] and would come to inspire fights against colonialism around the world. The festival attracted thousands from African states and the African Diaspora, including the Black Panthers. It represented the application of the tenets of the Algerian revolution to the rest of Africa, and symbolized the re-shaping of the definition of pan-African identity under the common experience of colonialism.[28] The Festival further strengthened Algeria's President, Boumediene's standing in Africa and the Third World.[28] After the death of Kwame Nkrumah in 1972, Muammar Qaddafi assumed the mantle of leader of the Pan-Africanist movement and became the most outspoken advocate of African Unity, like Nkrumah before him '' for the advent of a "United States of Africa".[29] In the United States, the term is closely associated with Afrocentrism, an ideology of African-American identity politics that emerged during the civil rights movement of the 1960s to 1970s.[30] Concept [ edit ] As originally conceived by Henry Sylvester-Williams (although some historians[who? ] credit the idea to Edward Wilmot Blyden), Pan-Africanism referred to the unity of all continental Africa.[31] During apartheid South Africa there was a Pan Africanist Congress that dealt with the oppression of Africans in South Africa under Apartheid rule. Other pan-Africanist organisations include: Garvey's Universal Negro Improvement Association-African Communities League, TransAfrica and the International People's Democratic Uhuru Movement. Additionally, Pan-Africanism is seen as an endeavor to return to what are deemed by its proponents as singular, traditional African concepts about culture, society, and values. Examples of this include L(C)opold S(C)dar Senghor's N(C)gritude movement, and Mobutu Sese Seko's view of Authenticit(C). An important theme running through much pan-Africanist literature concerns the historical links between different countries on the continent, and the benefits of cooperation as a way of resisting imperialism and colonialism. In the 21st century, some Pan-Africanists aim to address globalisation and the problems of environmental justice. For instance, at the conference "Pan-Africanism for a New Generation"[32] held at the University of Oxford, June 2011, Ledum Mittee, the current president of the Movement for the Survival of the Ogoni People (MOSOP), argued that environmental justice movements across the African continent should create horizontal linkages in order to better protect the interests of threatened peoples and the ecological systems in which they are embedded, and upon which their survival depends. Some universities went as far as creating "Departments of Pan-African Studies" in the late 1960s. This includes the California State University, where that department was founded in 1969 as a direct reaction to the civil rights movement, and is today dedicated to "teaching students about the African World Experience", to "demonstrate to the campus and the community the richness, vibrance, diversity, and vitality of African, African American, and Caribbean cultures" and to "presenting students and the community with an Afrocentric analysis" of anti-black racism.[33]Syracuse University also offers a master's degree in "Pan African Studies".[34] Pan-African colors [ edit ] The flags of numerous states in Africa and of Pan-African groups use green, yellow and red. This colour combination was originally adopted from the 1897 flag of Ethiopia, and was inspired by the fact that Ethiopia is the continent's oldest independent nation,[35] thus making the Ethiopian green, yellow and red the closest visual representation of Pan-Africanism. This is in comparison to the Black Nationalist flag, representing political theory centred around the eugenicist caste-stratified colonial Americas.[36] The UNIA (Universal Negro Improvement Association) flag, is a tri-color flag consisting of three equal horizontal bands of (from top down) red, black and green. The UNIA formally adopted it on August 13, 1920,[37] during its month-long convention at Madison Square Garden in New York.[38][39] Variations of the flag have been used in various countries and territories in Africa and the Americas to represent Black Nationalist ideologies. Among these are the flags of Malawi, Kenya and Saint Kitts and Nevis. Several Pan-African organizations and movements have also often employed the emblematic red, black and green tri-color scheme in variety of contexts. Maafa studies [ edit ] Maafa is an aspect of Pan-African studies. The term collectively refers to 500 years of suffering (including the present) of people of African heritage through slavery, imperialism, colonialism, and other forms of oppression.[40][41] In this area of study, both the actual history and the legacy of that history are studied as a single discourse. The emphasis in the historical narrative is on African agents, as opposed to non-African agents.[42] Political parties and organizations [ edit ] In Africa [ edit ] Organisation of African Unity, succeeded by the African UnionAfrican Unification FrontRassemblement D(C)mocratique AfricainAll-African People's Revolutionary PartyConvention People's Party (Ghana)Pan-African Renaissance[43]Economic Freedom Fighters (South Africa)Pan Africanist Congress of Azania (South Africa)In the Caribbean [ edit ] The Pan-African Affairs Commission for Pan-African Affairs, a unit within the Office of the Prime Minister of Barbados.[44]African Society for Cultural Relations with Independent Africa (Guyana)Antigua Caribbean Liberation Movement (Antigua and Barbuda)Clement Payne Movement (Barbados)Marcus Garvey People's Political Party (Jamaica)Universal Negro Improvement Association and African Communities League (Jamaica)In the United Kingdom [ edit ] Pan-African FederationIn the United States [ edit ] The Council on African Affairs (CAA): founded in 1937 by Max Yergan and Paul Robeson, the CAA was the first major U.S. organization whose focus was on providing pertinent and up-to-date information about Pan-Africanism across the United States, particularly to African Americans. Probably the most successful campaign of the Council was for South African famine relief in 1946. The CAA was hopeful that, following World War II, there would be a move towards Third World independence under the trusteeship of the United Nations.[45] To the CAA's dismay, the proposals introduced by the U.S. government to the conference in April/May 1945 set no clear limits on the duration of colonialism and no motions towards allowing territorial possessions to move towards self-government.[45] Liberal supporters abandoned the CAA, and the federal government cracked down on its operations. In 1953 the CAA was charged with subversion under the McCarran Internal Security Act. Its principal leaders, including Robeson, W. E. B. Du Bois, and Alphaeus Hunton (1903''70), were subjected to harassment, indictments, and in the case of Hunton, imprisonment. Under the weight of internal disputes, government repression, and financial hardships, the Council on African Affairs disbanded in 1955.[46]The US Organization was founded in 1965 by Maulana Karenga, following the Watts riots. It is based on the synthetic African philosophy of kawaida, and is perhaps best known for creating Kwanzaa and the Nguzo Saba ("seven principles"). In the words of its founder and chair, Karenga, "the essential task of our organization Us has been and remains to provide a philosophy, a set of principles and a program which inspires a personal and social practice that not only satisfies human need but transforms people in the process, making them self-conscious agents of their own life and liberation".[47]Pan-African concepts and philosophies [ edit ] Afrocentric Pan-Africanism [ edit ] Afrocentric Pan-Africanism is espoused by Kwabena Faheem Ashanti in his book The Psychotechnology of Brainwashing: Crucifying Willie Lynch. Another newer movement that has evolved from the early Afrocentric school is the Afrisecal movement or Afrisecaism of Francis Ohanyido, a Nigerian philosopher-poet.[48] Black Nationalism is sometimes associated with this form of pan-Africanism. Kawaida [ edit ] Hip hop [ edit ] Since the late 1970s, hip hop has emerged as a powerful force that has partly shaped black identity worldwide. In his 2005 article "Hip-hop Turns 30: Whatcha Celebratin' For?", Greg Tate describes hip-hop culture as the product of a Pan-African state of mind. It is an "ethnic enclave/empowerment zone that has served as a foothold for the poorest among us to get a grip on the land of the prosperous".[49] Hip-hop unifies those of African descent globally in its movement towards greater economic, social and political power. Andreana Clay in her article "Keepin' it Real: Black Youth, Hip-Hop Culture, and Black Identity" states that hip-hop provides the world with "vivid illustrations of Black lived experience", creating bonds of black identity across the globe.[50] From a Pan-African perspective, Hip-Hop Culture can be a conduit to authenticate a black identity, and in doing so, creates a unifying and uplifting force among Africans that Pan-Africanism sets out to achieve. Pan-African art [ edit ] Further information on pan-African film festivals see: FESPACO and PAFFSee also [ edit ] Literature [ edit ] Hakim Adi & Marika Sherwood, Pan-African History: Political Figures from Africa and the Diaspora Since 1787, London: Routledgem 2003.Imanuel Geiss, Panafrikanismus. Zur Geschichte der Dekolonisation. Habilitation, EVA, Frankfurt am Main, 1968, English as: The Pan-African Movement, London: Methuen, 1974, ISBN 0-416-16710-1, and as: The Pan-African Movement. A history of Pan-Africanism in America, Europe and Africa, New York: Africana Publ., 1974, ISBN 0-8419-0161-9.Colin Legum, Pan-Africanism: A Short Political Guide, revised edition, New York: Frederick A. Praeger, 1965.Tony Martin, Pan-African Connection: From Slavery to Garvey and Beyond, Dover: The Majority Press, 1985.References [ edit ] ^ Austin, David (Fall 2007). "All Roads Led to Montreal: Black Power, the Caribbean and the Black Radical Tradition in Canada". Journal of African American History. 92 (4): 516''539 . Retrieved March 30, 2019 . ^ Oloruntoba-Oju, Omotayo (December 2012). "Pan Africanism, Myth and History in African and Caribbean Drama". Journal of Pan African Studies. 5 (8): 190 ff. ^ Frick, Janari, et al. (2006), History: Learner's Book, p. 235, South Africa: New Africa Books. ^ Makalani, Minkah (2011), "Pan-Africanism". Africana Age. ^ New Dictionary of the History of Ideas. The Gale Group, Inc. 2005. ^ About the African Union Archived January 29, 2011, at the Wayback Machine. ^ "The objectives of the PAP", The Pan-African Parliament '' 2014 and beyond. ^ a b Falola, Toyin; Essien, Kwame (2013). Pan-Africanism, and the Politics of African Citizenship and Identity. London: Routledge. pp. 71''72. ISBN 1135005192 . Retrieved September 26, 2015 . ^ Goebel, Anti-Imperial Metropolis, pp. 250''278. ^ Maguire, K., "Ghana re-evaluates Nkrumah", GlobalPost, October 21, 2009. Retrieved September 13, 2012. ^ a b Agyeman, O., Pan-Africanism and Its Detractors: A Response to Harvard's Race Effacing Universalists, Harvard University Press (1998), cited in Mawere, Munyaradzi; Tapuwa R. Mubaya, African Philosophy and Thought Systems: A Search for a Culture and Philosophy of Belonging, Langaa RPCIG (2016), p. 89. ISBN 9789956763016. Retrieved August 23, 2018. ^ "Pan-Africanism". exhibitions.nypl.org . Retrieved February 16, 2017 . ^ "A history of Pan-Africanism", New Internationalist, 326, August 2000. ^ The History of Pan Africanism, PADEAP (Pan African Development Education and Advocacy Programme). ^ Lubin, Alex, "The Contingencies of Pan-Africanism", Geographies of Liberation: The Making of an Afro-Arab Political Imaginary, Chapel Hill: University of North Carolina Press, 2014, p. 71. ^ Smith-Asante, E., "Biography of Ghana's first President, Dr Kwame Nkrumah", Graphic Online, March 8, 2016. Retrieved March 23, 2017. ^ a b Mkandawire, P. (2005). African Intellectuals: Rethinking Politics, Language, Gender and Development, Dakar: Codesria/London: Zed Books, p. 58. Retrieved March 23, 2017. ^ a b Legum, C. (1965). Pan-Africanism: a short political guide, New York, etc.: Frederick A. Praeger, p. 41. ^ Adi, H., & M. Sherwood (2003). Pan-African History: Political Figures from Africa and the Diaspora Since 1787, London: Routledge, p. 66. ^ a b Legum (1965). Pan-Africanism, p. 42. ^ Adi & Sherwood (2003). Pan-African History, p. 179. ^ Legum (1965), Pan-Africanism, p. 45. ^ Legum (1965). Pan-Africanism, p. 46. ^ Legum (1965), Pan-Africanism, p. 47. ^ Martin, G. (2012). African Political Thought, New York: Palgrave Macmillan. ^ a b Adi & Sherwood (2003), Pan-African History, p. 10. ^ "African states unite against white rule", ON THIS DAY | May25. BBC News. Retrieved March 23, 2017. ^ a b c d Evans, M., & J. Phillips (2008). Algeria: Anger of the Dispossessed, Yale University Press, pp. 97''98. ^ Martin, G. (December 23, 2012). African Political Thought. Springer. ISBN 9781137062055. ^ See e.g. Ronald W. Walters, Pan Africanism in the African Diaspora: An Analysis of Modern Afrocentric Political Movements, African American Life Series, Wayne State University Press, 1997, p. 68. ^ Campbell, Crystal Z. (December 2006). "Sculpting a Pan-African Culture in the Art of N(C)gritude: A Model for African Artist" (PDF) . The Journal of Pan African Studies. Archived from the original on June 1, 2015. CS1 maint: BOT: original-url status unknown (link) ^ Oxford University African Society Conference, Corpus Christi College, Oxford University, May 5, 2012. ^ "About Us". Csus.edu . Retrieved October 15, 2015 . ^ The M.A. in Pan African Studies Archived October 25, 2014, at the Wayback Machine, African American Studies at Syracuse University. ^ Smith, Whitney (2001). Flag Lore of All Nations . Millbrook Press. p. 36. ISBN 0761317538 . Retrieved October 7, 2014 . ^ Lionel K., McPherson; Shelby, Tommie (Spring 2004). "Blackness and Blood: Interpreting African American Identity" (PDF) . Philosophy and Public Affairs. 32: 171''192. ^ Wikisource contributors, "The Declaration of the Rights of the Negro Peoples of the World", Wikisource, The Free Library. (Retrieved October 6, 2007). ^ "25,000 Negroes Convene: International Gathering Will Prepare Own Bill of Rights", The New York Times, August 2, 1920. Proquest. Retrieved October 5, 2007. ^ "Negroes Adopt Bill Of Rights: Convention Approves Plan for African Republic and Sets to Work on Preparation of Constitution of the Colored Race Negro Complaints Aggression Condemned Recognition Demanded". The Christian Science Monitor, August 17, 1920. Proquest. Retrieved October 5, 2007. ^ "What Holocaust". "Glenn Reitz". Archived from the original on October 18, 2007. ^ "The Maafa, African Holocaust". Swagga. ^ Ogunleye, Tolagbe (1997). "African American Folklore: Its Role in Reconstructing African American History". Journal of Black Studies. 27 (4): 435''455. ISSN 0021-9347. ^ "Pan-African Renaissance". ^ Rodney Worrell (2005). Pan-Africanism in Barbados: An Analysis of the Activities of the Major 20th-century Pan-African Formations in Barbados. New Academia Publishing, LLC. pp. 99''102. ISBN 978-0-9744934-6-6. ^ a b Duberman, Martin. Paul Robeson, 1989, pp. 296''97. ^ "Council on African Affairs", African Activist Archive. ^ "Philosophy, Principles, and Program". The Organization Us. ^ "Francis Okechukwu Ohanyido". African Resource. ^ Tate, Greg, "Hip-hop Turns 30: Whatcha Celebratin' For?", Village Voice, January 4, 2005. ^ Clay, Andreana. "Keepin' it Real: Black Youth, Hip-Hop Culture, and Black Identity". In American Behavioral Scientist, Vol. 46.10 (2003): 1346''58. External links [ edit ] SNCC Digital Gateway: Pan-Africanism'--Digital documentary website created by the SNCC Legacy Project and Duke University, telling the story of the Student Nonviolent Coordinating Committee & grassroots organizing from the inside-outAfrican UnionAfrican Code Unity Through DiversityA-APRP WebsiteThe Major Pan-African news and articles siteProfessor David Murphy (November 15, 2015). "The Performance of Pan-Africanism: performing black identity at major pan-African festivals, 1966''2010" (Podcast). The University of Edinburgh . Retrieved January 28, 2016 '' via Soundcloud. Ebro Darden - Wikipedia Mon, 02 Dec 2019 12:36 Ebro Darden BornIbrahim Jamil Darden ( 1975-03-17 ) March 17, 1975 (age 44) NationalityAmericanOccupationMedia executiveradio personalityYears active1990''presentKnown forHot 97 radio personalityBeats1 DJChildren1Websitewww.EbroDarden.comIbrahim "Ebro" Darden (born March 17, 1975) is an American media executive and radio personality. Until 2014, he was Vice President of Programming for Emmis Communications' New York contemporary urban station WQHT (Hot 97). He is currently a co-host on the Hot 97 morning show, Ebro in the Morning, alongside Peter Rosenberg, and Laura Stylez. As of 2015, Darden also hosts a hip hop music-based radio show on Beats 1. Early life [ edit ] Darden was born to a black father and a Jewish mother. He attended a Pentecostal church and Hebrew school while growing up in Oakland and Sacramento.[1] Career [ edit ] Start in radio [ edit ] Darden began his career in radio in 1990 at KSFM in Sacramento, California, while he was still a teenager. At KSFM he worked in research and as a sales runner until moving into programming as an intern, and later co-hosting for KSFM's night and morning shows. In 1997, he worked at KBMB in Sacramento as Programming and Music Director, as well as an afternoon host. Eventually, Darden became Operations Manager at KBMB, while also co-hosting mornings at KXJM in Portland, Oregon, in 1999. Hot 97 [ edit ] In 2003, Darden became Music Director for WQHT, ultimately becoming the Program Director for the station in 2007.[2][3][4] Darden worked alongside several past WQHT Hot 97 morning show co-hosts including Star and Bucwild, Miss Jones, DJ Envy, Sway, and Joe Budden from 2004 to 2007, and introduced Cipha Sounds and Peter Rosenberg to the AM drive in 2009. He rejoined the Hot 97 Morning Show in 2012, alongside Cipha Sounds, Peter Rosenberg, and Laura Stylez. As Programming Director and on-air host, Darden was the main voice of several events at Hot 97 including Nicki Minaj's relationship with the station, and her alleged sexual relationship with the host; Hurricane Sandy; and Mister Cee's personal life.[5] In 2014, VH1 announced a new unscripted comedy series, This Is Hot 97, which featured Darden and fellow hosts including Angie Martinez, Funkmaster Flex, Peter Rosenberg, Cipha Sounds, Miss Info, and Laura Stylez.[6] Beats 1 [ edit ] In addition to his current on-air role at Hot 97, Darden is now one of three anchor DJs on Beats 1, an Internet radio service from Apple Music. Feuds and controversy [ edit ] A comedic rivalry between Darden and fellow accomplished radio personality Charlamagne Tha God of Power 105.1 has been ongoing for years. In May 2017, Darden clarified their relationship, stating, "The stuff we do on the radio is stupid. It's for fun. I make fun of you for fun. That's it. It's not that deep... me and that dude don't have a personal problem... a personal relationship".[7] Darden was mentioned in Remy Ma's "shETHER" diss track, on which Ma insinuated that he slept with Nicki Minaj by stating "Coke head, you cheated on your man with Ebro". After jokingly going back and forth with both Ma and her husband Papoose on social media, Darden denied the rumors, stating that he and Minaj had only a professional relationship.[8] Ebro has been in an ongoing feud with Brooklyn artist 6ix9ine. Ebro made fun of 6ix9ine as looking like a clown and criticized him for bragging about streaming numbers,[9] and 6ix9ine responded on the song "Stoopid" with the line "That nigga Ebro, he a bitch/Just another old nigga on a young nigga dick." [10] Personal life [ edit ] Darden has a daughter, Isa, who was born in 2014.[11] Recognition [ edit ] In 2013, he was recognized by Radio Ink as a future African American leader.[12] Filmography [ edit ] References [ edit ] Queen & Slim (2019) - IMDb Mon, 02 Dec 2019 12:13 3 nominations. See more awards >> Learn more More Like This Comedy | Crime | Drama 1 2 3 4 5 6 7 8 9 10 8.1 / 10 X A detective investigates the death of a patriarch of an eccentric, combative family. Director:Rian Johnson Stars:Daniel Craig,Chris Evans,Ana de Armas Action | Crime | Drama 1 2 3 4 5 6 7 8 9 10 6.6 / 10 X An embattled NYPD detective is thrust into a citywide manhunt for a pair of cop killers after uncovering a massive and unexpected conspiracy. Director:Brian Kirk Stars:Chadwick Boseman,Sienna Miller,J.K. Simmons Action | Biography | Drama 1 2 3 4 5 6 7 8 9 10 6.5 / 10 X The extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America's greatest heroes, whose courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history. Director:Kasi Lemmons Stars:Cynthia Erivo,Leslie Odom Jr.,Joe Alwyn Biography | Drama 1 2 3 4 5 6 7 8 9 10 7.9 / 10 X Based on the true story of a real-life friendship between Fred Rogers and journalist Tom Junod. Director:Marielle Heller Stars:Tom Hanks,Matthew Rhys,Chris Cooper Drama 1 2 3 4 5 6 7 8 9 10 7.2 / 10 X A young actor's stormy childhood and early adult years as he struggles to reconcile with his father and deal with his mental health. Director:Alma Har'el Stars:Shia LaBeouf,Lucas Hedges,Noah Jupe Drama | Romance | Sport 1 2 3 4 5 6 7 8 9 10 7.7 / 10 X Traces the journey of a suburban family - led by a well-intentioned but domineering father - as they navigate love, forgiveness, and coming together in the aftermath of a loss. Director:Trey Edward Shults Stars:Taylor Russell,Kelvin Harrison Jr.,Alexa Demie Comedy | Drama | War 1 2 3 4 5 6 7 8 9 10 8.1 / 10 X A young boy in Hitler's army finds out his mother is hiding a Jewish girl in their home. Director:Taika Waititi Stars:Roman Griffin Davis,Thomasin McKenzie,Scarlett Johansson Action | Crime | Drama 1 2 3 4 5 6 7 8 9 10 5.7 / 10 X A rookie New Orleans police officer is forced to balance her identity as a black woman after she witnesses two corrupt cops committing murder. Director:Deon Taylor Stars:Naomie Harris,Frank Grillo,Mike Colter Biography | Drama | History 1 2 3 4 5 6 7 8 9 10 7.3 / 10 X A corporate defense attorney takes on an environmental lawsuit against a chemical company that exposes a lengthy history of pollution. Director:Todd Haynes Stars:Anne Hathaway,Mark Ruffalo,William Jackson Harper Drama | Fantasy | Horror 1 2 3 4 5 6 7 8 9 10 8.3 / 10 X Two lighthouse keepers try to maintain their sanity while living on a remote and mysterious New England island in the 1890s. Director:Robert Eggers Stars:Willem Dafoe,Robert Pattinson,Valeriia Karaman Crime | Drama | Mystery 1 2 3 4 5 6 7 8 9 10 6.5 / 10 X Consummate con man Roy Courtnay has set his sights on his latest mark: the recently widowed Betty McLeish, worth millions. But this time, what should have been a simple swindle escalates into a cat-and-mouse game with the ultimate stakes. Director:Bill Condon Stars:Helen Mirren,Ian McKellen,Russell Tovey Crime | Drama | Mystery 1 2 3 4 5 6 7 8 9 10 7.1 / 10 X In 1950s New York, a lonely private detective afflicted with Tourette's Syndrome ventures to solve the murder of his mentor and only friend. Director:Edward Norton Stars:Edward Norton,Gugu Mbatha-Raw,Alec Baldwin Edit Storyline Slim and Queen's first date takes an unexpected turn when a policeman pulls them over for a minor traffic violation. When the situation escalates, Slim takes the officer's gun and shoots him in self-defence. Now labelled cop killers in the media, Slim and Queen feel that they have no choice but to go on the run and evade the law. When a video of the incident goes viral, the unwitting outlaws soon become a symbol of trauma, terror, grief and pain for people all across the country Written bystmc-25959 Plot Summary | Add Synopsis Motion Picture Rating (MPAA) Rated R for violence, some strong sexuality, nudity, pervasive language, and brief drug use. | See all certifications >> Edit Details Release Date: 27 November 2019 (USA) See more >> Edit Box Office Opening Weekend USA: $11,700,000, 1 December 2019 Gross USA: $15,810,000 Cumulative Worldwide Gross: $15,810,000 See more on IMDbPro >> Company Credits Technical Specs Runtime: 131 min Aspect Ratio: 2.39 : 1 See full technical specs >> Edit Did You Know? Trivia First feature film to be directed by Melina Matsoukas, who has previously only directed music videos and TV episodes. See more >> Quotes Slim :Are you tryin' to die? Queen :No. I just always wanted to do that. Slim :Well, don't do it while I'm drivin' Queen :You should try it. Slim :Nah, I'm good. Queen :Pull over. Slim :Na-ah. Queen :Come on! Pull over. Pull over! Slim :If I do, would you please, let me drive the rest of the way it is? Queen :Swear to God. [...] See more >> Explore popular and recently added TV series available to stream now with Prime Video. Start your free trial Music in this episode Intro: Puff Daddy - It's all about the benjamins Outro: Blue Magic - Sideshow Donate to the show at moefundme.com Search for us in your podcast directory or use this link to subscribe to the feed Podcast Feed For more information: MoeFactz.com

This week on Black on Black Cinema, the guys return to review the hip hop musical "Carmen: A Hip Hopera" starring Beyonce Knowles and Mekhi Phifer. This is a VERY 2001 modern take on the Carmen Jones story. The film follows a cop (Phifer) who is seduced away from his girlfriend by an aspiring actress named Carmen (Knowles). The two find themselves on the run from the law as they move to Hollywood for Carmen to get her big break, but things don't go the way the two had assumed it would.

Y’all know we had to dedicate an episode to Carmen! This week, we dive into Carmen: A Hip Hopera, which is now on Netflix. We also talk about the new merch drop, the Lion King makeup collection, and y’all acting up in Nicole Curran’s comments. Read about the Lion King Collection here: https://www.refinery29.com/en-us/lion-king-makeup-collection-sir-john-luminessFollow us on Instagram and Twitter: @HereAreMyEdges.

This week on Black on Black Cinema, the guys return to announce the next film, "Carmen: A Hip Hopera" which is the Black hip hop re-imagining of the "Carmen Jones" story. The preview topic this week is all about the first episode of the 5th season of "Black Mirror" entitled "Striking Vipers." The guys discuss the episode (spoilers) and the implication that it raises as well as the importance of this being handled by a Black cast.

Len gets Vince's thoughts on soulful remakes that are superior to the originals (so some say)and the hip hop opera CARMEN starring Mekhi Phifer and Beyonce Knowles in her acting debut gets more honest scrutiny than it got in 2001. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Tracy speaks with the multi-talented actor and director Robert Townsend. They talk about the classic "Hollywood Shuffle," his love of superheroes, and directing Beyoncé in the cult classic "Carmen: A Hip Hopera." Also, Tracy shares her love of Tisha Campbell and Tichina Arnold.

Yes I’m still talking about frogs. #BlackLove ________________________ Welcome back to This is Not Real! In part two of our Black Love episode we give you a timeline of black love on screen and chat about our hopes and dreams for black love stories in the future. ________________________ Mentioned in this Episode Movies/Shows: Carmen Jones, Claudine, She’s Gotta Have it (1986) & (2017), A Different World, Poetic Justice, Jason’s Lyric, Love Jones, How Stella Got Her Groove Back, The Best Man, Love and Basketball, Girlfriends, Carmen: A Hip Hopera, Brown Sugar, Their Eyes Were Watching God, Beyond the Lights, Noah’s Arc, Fences, Moonlight, Insecure, If Beale Street Could Talk, Rafiki, How to Get Away With Murder, Scandal, Being Mary Jane, Power, Empire, Nappily Ever After, Why Did I Get Married?, The Cosby Show, The Fresh Prince of Bel-Air, Black Lightning, Set It Off, Black Panther, Cinderella Music: Ella Fitzgerald, Mary J Blige, The Carters, India Arie, Chaka Khan, Jill Scott, Erykah Badu, Beyoncé, Janelle Monae, Kanye West, Bruno Mars, Khalid, The Jackson 5, The Temptations, JohnnySwim, Leon Bridges, Alicia Keys, Jazmine Sullivan, Lauryn Hill Books & Authors: Zane & Purple Panties, Toni Morrison, Nayyirah Waheed, Alysia Harris, Jasmine Mans, Song for Anninho by Gayl Jones, James Baldwin, Nikki Giovanni, The Proposal by Jasmine Guillory (Listen to an interview w/her on The Nod Podcast) , Americanah by Chimamanda Ngozi Adichie, Nappily Ever After by Trisha R. Thomas ________________________ Put Me On The Belles, We Need Diverse Books, Yalitza Aparicio Tweet, Naked Attraction, Everyone is Talking About Moonlight but Our Interview is the Best (CodeSwitch Podcast), Black Panther back in Theaters!

Naomi André’s innovative new book, Black Opera: History, Power, Engagement (University of Illinois Press, 2018) is an example of a concept she calls “engaged musicology.” Positioning herself within the book as a knowledgeable and ethical listener, André seeks to understand the resonances and importance of opera to today’s audiences, performers, and scholars. To do this, she focuses on seven works and two continents. André places opera in the United States in conversation with opera in South Africa, the only country in Africa that has a continuous operatic tradition from the nineteenth century until the present day. Her work in South Africa began when she traveled with renowned opera singers George Shirley and Daniel Washington to that country as part of a project through the African Studies Center at her home institution of the University of Michigan. There she found a rich operatic life that included the performance of new works, such as Winnie: The Opera by Bongani Ndodana Breen as well as new interpretations of canonical operas such as a South African reimagining of Bizet’s Carmen called U-Carmen eKhayelitsha, both of which she features in Black Opera. The other works she considers are From the Diary of Sally Hemings by William Bolcom and Sandra Seaton, Porgy and Bess by George Gershwin, along with Carmen and two American versions of that opera, Oscar Hammerstein’s Carmen Jones and the MTV production, Carmen: A Hip Hopera. André’s central concern is how the history of race relations and changing gender roles in both countries impacted the development, performance, composition, and reception of opera. To do this, she provides what she terms a “shadow history” of opera culture to help her readers understand “black operas” (that is operas by black and interracial compositional teams, about black subjects, and the issues around black opera singers) that have been hidden due to social, political, and economic reasons rather the quality of the works and performers. Nestled within the disciplines of musicology, ethnomusicology, African Studies, and cultural theory, this truly interdisciplinary monograph points to a new way to analyze music’s place in the past and the present. Naomi André is Associate Professor in the Department of Afroamerican and African Studies, Women’s Studies, and the Associate Director for Faculty at the Residential College at the University of Michigan. She received her B.A. from Barnard College and M.A. and Ph.D. from Harvard University. Her research focuses on opera and issues surrounding gender, voice, and race. Her publications are on topics including Italian opera, Schoenberg, women composers, and teaching opera in prisons. Her earlier books, Voicing Gender: Castrati, Travesti, and the Second Woman in Early Nineteenth-Century Italian Opera (2006) and Blackness in Opera (2012, co-edited collection) focus on opera from the nineteenth to the mid-twentieth centuries and explore constructions of gender, race and identity. In addition to serving on the Executive Committee for the Criminal Justice Program at the American Friends Service Committee (Ann Arbor, MI), she brings her expertise on race, politics, and opera to the public through numerous appearances on public panels and symposia, and in the popular press. Kristen M. Learn more about your ad choices. Visit megaphone.fm/adchoices

Naomi André’s innovative new book, Black Opera: History, Power, Engagement (University of Illinois Press, 2018) is an example of a concept she calls “engaged musicology.” Positioning herself within the book as a knowledgeable and ethical listener, André seeks to understand the resonances and importance of opera to today’s audiences, performers, and scholars. To do this, she focuses on seven works and two continents. André places opera in the United States in conversation with opera in South Africa, the only country in Africa that has a continuous operatic tradition from the nineteenth century until the present day. Her work in South Africa began when she traveled with renowned opera singers George Shirley and Daniel Washington to that country as part of a project through the African Studies Center at her home institution of the University of Michigan. There she found a rich operatic life that included the performance of new works, such as Winnie: The Opera by Bongani Ndodana Breen as well as new interpretations of canonical operas such as a South African reimagining of Bizet’s Carmen called U-Carmen eKhayelitsha, both of which she features in Black Opera. The other works she considers are From the Diary of Sally Hemings by William Bolcom and Sandra Seaton, Porgy and Bess by George Gershwin, along with Carmen and two American versions of that opera, Oscar Hammerstein’s Carmen Jones and the MTV production, Carmen: A Hip Hopera. André’s central concern is how the history of race relations and changing gender roles in both countries impacted the development, performance, composition, and reception of opera. To do this, she provides what she terms a “shadow history” of opera culture to help her readers understand “black operas” (that is operas by black and interracial compositional teams, about black subjects, and the issues around black opera singers) that have been hidden due to social, political, and economic reasons rather the quality of the works and performers. Nestled within the disciplines of musicology, ethnomusicology, African Studies, and cultural theory, this truly interdisciplinary monograph points to a new way to analyze music’s place in the past and the present. Naomi André is Associate Professor in the Department of Afroamerican and African Studies, Women’s Studies, and the Associate Director for Faculty at the Residential College at the University of Michigan. She received her B.A. from Barnard College and M.A. and Ph.D. from Harvard University. Her research focuses on opera and issues surrounding gender, voice, and race. Her publications are on topics including Italian opera, Schoenberg, women composers, and teaching opera in prisons. Her earlier books, Voicing Gender: Castrati, Travesti, and the Second Woman in Early Nineteenth-Century Italian Opera (2006) and Blackness in Opera (2012, co-edited collection) focus on opera from the nineteenth to the mid-twentieth centuries and explore constructions of gender, race and identity. In addition to serving on the Executive Committee for the Criminal Justice Program at the American Friends Service Committee (Ann Arbor, MI), she brings her expertise on race, politics, and opera to the public through numerous appearances on public panels and symposia, and in the popular press. Kristen M. Learn more about your ad choices. Visit megaphone.fm/adchoices

Naomi André’s innovative new book, Black Opera: History, Power, Engagement (University of Illinois Press, 2018) is an example of a concept she calls “engaged musicology.” Positioning herself within the book as a knowledgeable and ethical listener, André seeks to understand the resonances and importance of opera to today’s audiences, performers, and scholars. To do this, she focuses on seven works and two continents. André places opera in the United States in conversation with opera in South Africa, the only country in Africa that has a continuous operatic tradition from the nineteenth century until the present day. Her work in South Africa began when she traveled with renowned opera singers George Shirley and Daniel Washington to that country as part of a project through the African Studies Center at her home institution of the University of Michigan. There she found a rich operatic life that included the performance of new works, such as Winnie: The Opera by Bongani Ndodana Breen as well as new interpretations of canonical operas such as a South African reimagining of Bizet’s Carmen called U-Carmen eKhayelitsha, both of which she features in Black Opera. The other works she considers are From the Diary of Sally Hemings by William Bolcom and Sandra Seaton, Porgy and Bess by George Gershwin, along with Carmen and two American versions of that opera, Oscar Hammerstein’s Carmen Jones and the MTV production, Carmen: A Hip Hopera. André’s central concern is how the history of race relations and changing gender roles in both countries impacted the development, performance, composition, and reception of opera. To do this, she provides what she terms a “shadow history” of opera culture to help her readers understand “black operas” (that is operas by black and interracial compositional teams, about black subjects, and the issues around black opera singers) that have been hidden due to social, political, and economic reasons rather the quality of the works and performers. Nestled within the disciplines of musicology, ethnomusicology, African Studies, and cultural theory, this truly interdisciplinary monograph points to a new way to analyze music’s place in the past and the present. Naomi André is Associate Professor in the Department of Afroamerican and African Studies, Women’s Studies, and the Associate Director for Faculty at the Residential College at the University of Michigan. She received her B.A. from Barnard College and M.A. and Ph.D. from Harvard University. Her research focuses on opera and issues surrounding gender, voice, and race. Her publications are on topics including Italian opera, Schoenberg, women composers, and teaching opera in prisons. Her earlier books, Voicing Gender: Castrati, Travesti, and the Second Woman in Early Nineteenth-Century Italian Opera (2006) and Blackness in Opera (2012, co-edited collection) focus on opera from the nineteenth to the mid-twentieth centuries and explore constructions of gender, race and identity. In addition to serving on the Executive Committee for the Criminal Justice Program at the American Friends Service Committee (Ann Arbor, MI), she brings her expertise on race, politics, and opera to the public through numerous appearances on public panels and symposia, and in the popular press. Kristen M. Learn more about your ad choices. Visit megaphone.fm/adchoices

Naomi André’s innovative new book, Black Opera: History, Power, Engagement (University of Illinois Press, 2018) is an example of a concept she calls “engaged musicology.” Positioning herself within the book as a knowledgeable and ethical listener, André seeks to understand the resonances and importance of opera to today’s audiences, performers, and scholars. To do this, she focuses on seven works and two continents. André places opera in the United States in conversation with opera in South Africa, the only country in Africa that has a continuous operatic tradition from the nineteenth century until the present day. Her work in South Africa began when she traveled with renowned opera singers George Shirley and Daniel Washington to that country as part of a project through the African Studies Center at her home institution of the University of Michigan. There she found a rich operatic life that included the performance of new works, such as Winnie: The Opera by Bongani Ndodana Breen as well as new interpretations of canonical operas such as a South African reimagining of Bizet’s Carmen called U-Carmen eKhayelitsha, both of which she features in Black Opera. The other works she considers are From the Diary of Sally Hemings by William Bolcom and Sandra Seaton, Porgy and Bess by George Gershwin, along with Carmen and two American versions of that opera, Oscar Hammerstein’s Carmen Jones and the MTV production, Carmen: A Hip Hopera. André’s central concern is how the history of race relations and changing gender roles in both countries impacted the development, performance, composition, and reception of opera. To do this, she provides what she terms a “shadow history” of opera culture to help her readers understand “black operas” (that is operas by black and interracial compositional teams, about black subjects, and the issues around black opera singers) that have been hidden due to social, political, and economic reasons rather the quality of the works and performers. Nestled within the disciplines of musicology, ethnomusicology, African Studies, and cultural theory, this truly interdisciplinary monograph points to a new way to analyze music’s place in the past and the present. Naomi André is Associate Professor in the Department of Afroamerican and African Studies, Women’s Studies, and the Associate Director for Faculty at the Residential College at the University of Michigan. She received her B.A. from Barnard College and M.A. and Ph.D. from Harvard University. Her research focuses on opera and issues surrounding gender, voice, and race. Her publications are on topics including Italian opera, Schoenberg, women composers, and teaching opera in prisons. Her earlier books, Voicing Gender: Castrati, Travesti, and the Second Woman in Early Nineteenth-Century Italian Opera (2006) and Blackness in Opera (2012, co-edited collection) focus on opera from the nineteenth to the mid-twentieth centuries and explore constructions of gender, race and identity. In addition to serving on the Executive Committee for the Criminal Justice Program at the American Friends Service Committee (Ann Arbor, MI), she brings her expertise on race, politics, and opera to the public through numerous appearances on public panels and symposia, and in the popular press. Kristen M.

Naomi André's innovative new book, Black Opera: History, Power, Engagement (University of Illinois Press, 2018) is an example of a concept she calls “engaged musicology.” Positioning herself within the book as a knowledgeable and ethical listener, André seeks to understand the resonances and importance of opera to today's audiences, performers, and scholars. To do this, she focuses on seven works and two continents. André places opera in the United States in conversation with opera in South Africa, the only country in Africa that has a continuous operatic tradition from the nineteenth century until the present day. Her work in South Africa began when she traveled with renowned opera singers George Shirley and Daniel Washington to that country as part of a project through the African Studies Center at her home institution of the University of Michigan. There she found a rich operatic life that included the performance of new works, such as Winnie: The Opera by Bongani Ndodana Breen as well as new interpretations of canonical operas such as a South African reimagining of Bizet's Carmen called U-Carmen eKhayelitsha, both of which she features in Black Opera. The other works she considers are From the Diary of Sally Hemings by William Bolcom and Sandra Seaton, Porgy and Bess by George Gershwin, along with Carmen and two American versions of that opera, Oscar Hammerstein's Carmen Jones and the MTV production, Carmen: A Hip Hopera. André's central concern is how the history of race relations and changing gender roles in both countries impacted the development, performance, composition, and reception of opera. To do this, she provides what she terms a “shadow history” of opera culture to help her readers understand “black operas” (that is operas by black and interracial compositional teams, about black subjects, and the issues around black opera singers) that have been hidden due to social, political, and economic reasons rather the quality of the works and performers. Nestled within the disciplines of musicology, ethnomusicology, African Studies, and cultural theory, this truly interdisciplinary monograph points to a new way to analyze music's place in the past and the present. Naomi André is Associate Professor in the Department of Afroamerican and African Studies, Women's Studies, and the Associate Director for Faculty at the Residential College at the University of Michigan. She received her B.A. from Barnard College and M.A. and Ph.D. from Harvard University. Her research focuses on opera and issues surrounding gender, voice, and race. Her publications are on topics including Italian opera, Schoenberg, women composers, and teaching opera in prisons. Her earlier books, Voicing Gender: Castrati, Travesti, and the Second Woman in Early Nineteenth-Century Italian Opera (2006) and Blackness in Opera (2012, co-edited collection) focus on opera from the nineteenth to the mid-twentieth centuries and explore constructions of gender, race and identity. In addition to serving on the Executive Committee for the Criminal Justice Program at the American Friends Service Committee (Ann Arbor, MI), she brings her expertise on race, politics, and opera to the public through numerous appearances on public panels and symposia, and in the popular press. Kristen M. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Naomi André’s innovative new book, Black Opera: History, Power, Engagement (University of Illinois Press, 2018) is an example of a concept she calls “engaged musicology.” Positioning herself within the book as a knowledgeable and ethical listener, André seeks to understand the resonances and importance of opera to today’s audiences, performers, and scholars. To do this, she focuses on seven works and two continents. André places opera in the United States in conversation with opera in South Africa, the only country in Africa that has a continuous operatic tradition from the nineteenth century until the present day. Her work in South Africa began when she traveled with renowned opera singers George Shirley and Daniel Washington to that country as part of a project through the African Studies Center at her home institution of the University of Michigan. There she found a rich operatic life that included the performance of new works, such as Winnie: The Opera by Bongani Ndodana Breen as well as new interpretations of canonical operas such as a South African reimagining of Bizet’s Carmen called U-Carmen eKhayelitsha, both of which she features in Black Opera. The other works she considers are From the Diary of Sally Hemings by William Bolcom and Sandra Seaton, Porgy and Bess by George Gershwin, along with Carmen and two American versions of that opera, Oscar Hammerstein’s Carmen Jones and the MTV production, Carmen: A Hip Hopera. André’s central concern is how the history of race relations and changing gender roles in both countries impacted the development, performance, composition, and reception of opera. To do this, she provides what she terms a “shadow history” of opera culture to help her readers understand “black operas” (that is operas by black and interracial compositional teams, about black subjects, and the issues around black opera singers) that have been hidden due to social, political, and economic reasons rather the quality of the works and performers. Nestled within the disciplines of musicology, ethnomusicology, African Studies, and cultural theory, this truly interdisciplinary monograph points to a new way to analyze music’s place in the past and the present. Naomi André is Associate Professor in the Department of Afroamerican and African Studies, Women’s Studies, and the Associate Director for Faculty at the Residential College at the University of Michigan. She received her B.A. from Barnard College and M.A. and Ph.D. from Harvard University. Her research focuses on opera and issues surrounding gender, voice, and race. Her publications are on topics including Italian opera, Schoenberg, women composers, and teaching opera in prisons. Her earlier books, Voicing Gender: Castrati, Travesti, and the Second Woman in Early Nineteenth-Century Italian Opera (2006) and Blackness in Opera (2012, co-edited collection) focus on opera from the nineteenth to the mid-twentieth centuries and explore constructions of gender, race and identity. In addition to serving on the Executive Committee for the Criminal Justice Program at the American Friends Service Committee (Ann Arbor, MI), she brings her expertise on race, politics, and opera to the public through numerous appearances on public panels and symposia, and in the popular press. Kristen M. Learn more about your ad choices. Visit megaphone.fm/adchoices

Berättelsen om hur en blyg flicka från Texas blev världens stora popdrottning. 2003 slår Beyoncé igenom som soloartist med albumet "Dangerously In Love". Hon intervjuas av programledaren Oprah Winfrey, som ger den unga stjärnan ett råd: håll tyst om ditt privatliv. Rådet präglar resten av Beyoncés karriär: hon har tagit politisk ställning på bästa sändningstid, gjort ett helt album om sin mans påstådda otrohetsaffär och berättat om det spruckna samarbetet med sin pappa och manager Matthew Knowles i en egenproducerad dokumentär. Ändå förblir Beyoncé ett mysterium. Hon syns sällan på paparazzibilder och säger sig ha ganska lite gemensamt med den hon är på scen, divan som hon döpt till Sasha Fierce. P3 Musikdokumentär om Beyoncé handlar om stjärnans hårda arbete under uppväxten i Houston. Om hur den blyga flickan som drillats i sång och dans av sin pappa blir frontfigur i Destiny's Child och sedan går solo. Men det är också en berättelse om hur Beyoncé ständigt förnyar sig själv och bryter ny mark i låtar, videos och samarbeten med författare och andra artister. En dokumentär av Axel Winqvist  Producent: Vendela Lundberg Exekutiv producent: Ulla Svensson  Tekniker: Fredrik Nilsson  Programmet är en produktion från Tredje Statsmakten Media   Ljudklippen i dokumentären är hämtade från MTV Video Music Awards 2011, NFL Network, ABC News, ABC's Good Morning America, Fox News, CNN's program Beyoncé -finding her destiny, Shriver Media, CBS 60 Minutes, VH1 dokumentärserie Driven, Entertainment Televisions Destiny's Child Revealed, MTV, Carmen - A Hip Hopera, Dreamgirls, Lemonade från HBO, MTV News, The Oprah Winfrey Show producerat av Harpo Productions för amerikanska CBS, Black Entertainment television, CNN's Pierce Morgan Tonight, Life is But A Dream producerad av Parkwood Entertainment för HBO, Amerikanska AM Tonight. AXS, CNN NEWS, Rolling Stone Magazine, GENIUS, Beyoncés egen youtubekanal: Year of 4 och Self-titled. Part 4. Liberation, Star Search producerat av Rysher Entertainment 1993.

MUSIC PART STARTS AT :54 For our first Beyoncé movie, we brought in a member of the hive to bless it. @ItsEstaFiesta came through to talk CARMEN: A Hip Hopera, starring Beyoncé and like half of So So Def. Its a long-ass episode because we discuss our favorite Beyoncé songs.

MUSIC PART STARTS AT :54 For our first Beyoncé movie, we brought in a member of the hive to bless it. @ItsEstaFiesta came through to talk CARMEN: A Hip Hopera, starring Beyoncé and like half of So So Def. Its a long-ass episode because we discuss our favorite Beyoncé songs.

B & E take a trip through the far reaches of Black camp. They discuss Carmen: A Hip Hopera, the partnership of R. Kelly & Ronald Isley, and Trapped in the Closet. Show Notes: https://tab.bz/y4l1j See acast.com/privacy for privacy and opt-out information.

WITH IN THE HEIGHTS playing Broadway to some success, and Into the Hoods also doing good business in the West End, Tim joins guest presenter Will Segal to delve into the past, present and future of the Hip Hop (or rap) musical. This episode: why rap is theatrical, Idlewild, Carmen - A Hip Hopera, 8 Mile and Will's own forthcoming rap opera, Outflow. Tim interviews Flitz and Holly Shanks of the Hip Hop Collective, who recently toured with The Hip Hop Adventures of Peter Peril. Continued in Episode 78.