Costume Designers Francine Jamison-Tanchuck and Charlese Antoinette Jones on Ruth E. Carter’s Oscar Win

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costume designers Francine Jamison-Tanchuck and Charlese Antoinette Jones for oscar awards collage

Francine Jamison-Tanchuck has logged more than 40 years in the industry, with the Civil War epic “Glory” marking her first film as lead designer. But she says she’s often faced skepticism from an industry that sought to pigeonhole her talent. “At one point, there was that
feeling of ‘Does a woman know how to capture a war film?’ I thought, ‘Watch me,’” she recalls.

The pair detail their Hollywood journeys, discussing the triumphs and challenges they faced and revealing how they learned to defy expectations as Black women behind the scenes.

What movie or costume inspired you to become a designer?

Francine Jamison-Tanchuck: I’ve been designing and making costumes since I was 7 years old. I started doing things on my dolls, and I started making my clothes to match, and vice versa. I’ve always been a movie buff. I saw Dorothy Dandridge’s “Carmen Jones,” and I thought, “Wow, what an interesting profession to express yourself.”

Charlese Antoinette Jones: I was into old period films and a couple of epic films. I grew up Christian and was allowed to watch [only] certain movies. I remember watching “Ben-Hur” over and over for the costumes. I didn’t realize this was a career until I moved to New York.

Who opened the door and mentored you?

Jamison-Tanchuck: There was an opportunity that was starting through affirmative action, inviting people of color to come into the industry. I applied and got into the program from 450 applicants. I was an apprentice and had to work at four different studios within a year, and I made $100 a week. My mentors were Bernard Johnson and at one point I worked on a film with the famed Edith Head.

Antoinette Jones: The biggest hurdle for me is the fact that I wasn’t able to secure a mentor. I would see white people who were walked through the steps — getting that help and moving up quickly. [But] I was fine moving at the pace I was moving because I wanted to learn as much as I could.

Charlese, with “Judas and the Black Messiah” you had to re-create the look of Black Panther leader Fred Hampton and his followers. How did you go about doing that?

Antoinette Jones: The majority of the clothing was vintage. We were sourcing clothes from all over the country. We were eBaying like crazy, finding vintage pieces. We were shipping clothes from L.A. I went to Fresno and met a vintage dealer. He had a warehouse of ’60s [clothing]. I filled my van. That’s the part of my job that I love. It’s so much fun — the procuring and the research.

Continue to the original article at Variety.

Firsts of Firsts: Making Black History – Black History Firsts

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Maia Chaka Becomes the First Black Woman to Officiate the NFL 

This past season, Maia Chaka made history when she became the first Black woman to officiate an NFL game. Chaka, who has been a part of the NFL Officiating Development Program since 2014, has formally been added to the NFL officiating roster in an accomplishment that Chaka claims not only for herself but for her community. Her first game was on September 12, between the New York Jets and the Carolina Panthers. “But this moment is bigger than a personal accomplishment,” Chaka stated to the press, “It is an accomplishment for all women, my community and my culture.”

Source: NPR

 

Emma Grede is the First Black Woman Investor on Shark Tank

Emma Grede wearing a long black dress with her left leg showing skin peeking out
MIAMI BEACH, FLORIDA – OCTOBER 23: Emma Grede attends the Good American 3rd Anniversary Dinner Party at Casa Tua on October 23, 2019 in Miami Beach, Florida. (Photo by Alexander Tamargo/Getty Images for Good American)

CEO of Khloe Kardashian’s Good American and Co-founder to Kim Kardashian’s SKIMS, Emma Grede has become the first black woman to join the cast of Shark Tank as one of the show’s “sharks.” She will be the 13th season’s guest shark alongside show regulars Mark Cuban, Lori Greiner, Barbara Corcoran, Kevin O’Leary, Robert Herjavic, Daymond John and additional guest shark, Kevin Hart. Of her appearance, Grede simply stated on Instagram, “I’m beyond thrilled to be a guest shark on Season 13 of Shark Tank!”

Source: The Grio

Michaela Coel weaking a elegant
Photo Credit: Rich Fury/Getty Images

Michaela Coel Becomes the First Black Woman to Win an Emmy for Writing in a Limited Series

Writer Michaela Coel made history during the 2021 Emmys when she became the first Black Woman to win an Emmy for writing in a Limited Series. Coel’s victory came from her work on the series, I May Destroy You, which she wrote, directed and produced based off of her experiences as a sexual assault survivor. Coel kept her acceptance speech sweet and concise with what she wanted to say: “Write the tale that scares you, that makes you feel uncertain, that is uncomfortable…Do not be afraid to disappear — from it, from us — for a while, and see what comes to you in the silence…I dedicate this story to every single survivor of sexual assault.”

Source: ET and The Atlantic

Cast of The Black Lady show standing with their awards for the show
LOS ANGELES, CALIFORNIA – SEPTEMBER 11: Daysha Broadway, Stephanie Filo and Jessica Hernandez pose with the award for Outstanding Picture Editing for Variety Programming for “A Black Lady Sketch Show” at Microsoft Theater on September 11, 2021 in Los Angeles, California. (Photo by Kevin Winter/Getty Images)

A Black Lady Sketch Show Earns First Emmy for Picture Editing in a Variety Program

Photo Credit: Kevin Winter/Getty Images

The editing team of the comedy series “A Black Lady Sketch Show” took home the award for Outstanding Picture Editing for Variety Programming at the Emmy’s this last year, making them the first editing team of color to win and be nominated in that category. The award came specifically for Season 2, Episode 3 entitled “Sister, May I Call You Oshun?” starring Gabrielle Union and Jesse Williams. Editors Daysha Broadway, Stephanie Filo and Jessica Hernandez were present to accept their physical awards.

Source: Because of Them We Can

Sian Proctor standing in her uniform in front of a launch platform

Sian Proctor Becomes the First Black Woman Spacecraft Pilot

Photo Credit: Wikipedia

When SpaceX launched its historic Inspiration4 mission, it marked the first time that an all-civilian crew traveled into orbit. But as historic as this feat is, it wasn’t the only “first” that was accomplished that day. Sian Proctor, a geoscientist chosen to be a part of the missions’ crew, was assigned to be the pilot for the flight, making her the first black woman spacecraft pilot in history. Proctor’s position also makes her the oldest black woman to go to space at the age of 51 and the sixth black woman astronaut in history regardless of space travel status.

Source: Space.com, Wikipedia, Spaceflight Now

Tribeca Disruptive Innovation Awards - 2012 Tribeca Film Festival
NEW YORK, NY – APRIL 27: Dr. Patricia Bath of Laserphaco attends the Tribeca Disruptive Innovation Awards during the 2012 Tribeca Film Festival at the NYU Paulson Auditorium on April 27, 2012 in New York City. (Photo by Jemal Countess/Getty Images)

The First Black Women Inducted into the National Inventors Hall of Fame

Marian Photo: Wikipedia

Bath Photo: Jemal Countess/Getty Images

Dr. Patricia Era Bath (1942-2019), the groundbreaking ophthalmologist who invented one of the most important surgical tools in history, and Marian Croak, one of the astounding pioneers for Voice over IP adaption, will be inducted into the National Investors Hall of Fame in May of next year, making them the first Black female inventors inducted by NIHF in its nearly 50-year history. When asked what it meant to be a part of the 2022 class of inductees and as one of the first black women to do so, Croak stated, “I find that it inspires people when they see someone who looks like themselves on some dimension, and I’m proud to offer that type of representation. People also see that I’m just a normal person like themselves, and I think that also inspires them to accomplish their goals. I want people to understand that it may be difficult but that they can overcome obstacles and that it will be so worth it.”

Source: We R Stem, Google News, Wikipedia

NASCAR Cup Series YellaWood 500
TALLADEGA, ALABAMA – OCTOBER 04: Bubba Wallace, driver of the #23 McDonald’s Toyota, celebrates in the Ruoff Mortgage victory lane after winning the rain-shortened NASCAR Cup Series YellaWood 500 at Talladega Superspeedway on October 04, 2021 in Talladega, Alabama. (Photo by Chris Graythen/Getty Images)

Bubba Wallace Breaks Record in NASCAR Cup

Photo Credit: Chris Graythen/Getty Images

Racecar driver, Bubba Wallace, broke records this last year when he won the YellaWood 500 NASCAR race, making him the first black driver to win a NASCAR cup since Wendell Scott’s victory in 1963. Wallace took the victory in early October, driving the number 23 Toyota Camry, owned by Michael Jordan’s racing team. The win not only marked Wallace’s first win since becoming a full-time racer in 2018, but named Jordan as the first black owner to win a full-time cup since 1973. When asked what it was like for Wallace to be the first black driver to win a cup since Wendell Scott, Wallace told NBC: “When you say it like that, it obviously brings a lot of joy, a lot of emotion to my family, fans and friends…just proud to be a winner in a Cup Series.”

Source: Deadline and NBC

Jessica Watkins standing in front of a world map with her uniform on

Jessica Watkins to Be the First Black Woman to Live and Work on the Space Station

Photo Credit: NASA/Bill Ingalls

NASA has assigned astronaut Jessica Watkins to serve as a mission specialist on the agency’s upcoming SpaceX Crew-4 mission, the fourth crew rotation flight of the Crew Dragon spacecraft to the International Space Station. This makes Watkins the first black woman in history to live and work on the space station. The mission will begin in April 2022 and will be Watkins’ first trip to space after her astronaut selection in 2017.

Credit: NASA

Rihanna is now worth $1.4 billion–making her America’s youngest self made billionaire woman

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Rihanna attends a Fenty event in February 2020 in an orange turtle neck. she is now america's youngest female self made billionaire

By Megan Sauer, CNBC

The youngest self-made billionaire woman in the U.S. didn’t grow up in a Manhattan high rise or the Hollywood Hills. Instead, Rihanna amassed her fortune from her own music and entrepreneurial ventures.

Recently, the 34-year-old singer and Fenty Beauty CEO graced Forbes’ annual list of America’s richest self-made women for the third year in a row. She ranked 21st overall, and is the list’s only billionaire under age 40. Some of Rihanna’s $1.4 billion net worth is from her successful music career. Most of it is from her three retail companies: Fenty Beauty, Fenty Skin and Savage X Fenty.

In March, Bloomberg reported Savage X Fenty lingerie was working with advisors on an IPO that could potentially be valued at $3 billion. Rihanna owns 30% of that company. She also owns half of Fenty Beauty, which generated $550 million in revenue in 2020. The other half of the company is owned by French luxury fashion conglomerate LVMH.

The numbers are impressive, but Rihanna has said that her focus isn’t on valuations and accolades. In 2019, she told The New York Times’ T Magazine that because she never planned on making a fortune, reaching financial milestones was “not going to stop me from working.”

The nine-time Grammy Award winner also said she wants to give that money away to causes that matter, anyway. “My money is not for me; it’s always the thought that I can help someone else,” she said. “The world can really make you believe that the wrong things are priority, and it makes you really miss the core of life, what it means to be alive.”

In 2012, Rihanna started a philanthropy fund, the Clara Lionel Foundation (CLF). It aims to “support and fund groundbreaking education and climate resilience initiatives,” according to its website.

One of its first initiatives, which launched a year after the foundation began, raised $60 million for women and children affected by HIV/AIDS through sales from the singer’s lipstick line with MAC Cosmetics. And in January, CLF paired up with Twitter co-founder Jack Dorsey’s #SmartSmall initiative to donate a combined $15 million to 18 different climate justice groups.

That money is meant for organizations “focused on and led by women, youth, Black, Indigenous, people of color and LGBTQIA+ communities” in the U.S. and Caribbean, according to CLF’s website.

“At the [CLF], much of the work is rooted in the understanding that climate disasters, which are growing in frequency and intensity, do not impact all communities equally, with communities of color and island nations facing the brunt of climate change,” Rihanna said in a January statement.

Click here to read the full article on CNBC.

Naomi Osaka launches media company in partnership with Lebron James

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Tennis Player, Naomi Osaka poses for a photo with LeBron James #23 of the Los Angeles Lakers after the game on April 4, 2019 at STAPLES Center in Los Angeles, California.

By Ian Krietzberg, CNBC

Four-time Grand Slam winner Naomi Osaka is launching a media production company in partnership with The SpringHill Company, a media conglomerate created by Lebron James.

The production company, called Hana Kuma, will produce scripted and nonfiction content, starting with a New York Times documentary about Patsy Mink, the first woman of color elected to U.S. Congress, according to a press release. The announcement says Hana Kuma will highlight “empowering” and “culturally specific” stories.

“There has been an explosion of creators of color finally being equipped with resources and a huge platform,” Osaka said in the release. “In the streaming age, content has a more global perspective. You can see this in the popularity of television from Asia, Europe and Latin America that the unique can also be universal. My story is a testament to that as well.”

The SpringHill Company, founded by NBA star James and business partner Maverick Carter, will provide production and strategic resources to Hana Kuma, the release said. Hana Kuma also has partnerships with crypto exchange platform FTX and health platform Modern Health.

In May, Osaka launched an athlete representation agency called Evolve.

Click here to read the full article on CNBC.

H.B.C.U.s Have a Spirit All Their Own. Pop Culture Is Paying Attention.

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Pop Culture icon beyonce at a concert

By 

The collective moment when I first saw a three-dimensional reflection of my own college experience in popular culture happened not once but twice: on the television series “A Different World,” which premiered in 1987, and in Spike Lee’s film “School Daze,” which debuted in 1988. Together, they presented a meditation on the many layers and complexities of Black campus life that I had not seen before.

The magic for me wasn’t in particular characters as much as it was in the plot lines and the elements of culture imported from H.B.C.U.s, or historically Black colleges and universities. These recognizable moments from my own experience — campuses filled with students who celebrated the diversity of Black culture; the Greek steppers whose chants and thunderous stomps filled the gym; the homecomings that felt more like a family reunion — could have been plucked from any of the more than 100 H.B.C.U. campuses across the country, including my alma mater, Florida A&M University (FAMU).

When they appeared more than 30 years ago, “A Different World” and “School Daze” harnessed the power of familiarity and affirmation — and marked one of the first big moments of visibility for H.B.C.U.s in mainstream culture.

Finally, I thought, a defining chapter in the lives of so many Black Americans was being told in a big, big way. Finally, our H.B.C.U. history and inheritance, our legacy and sense of belonging, were being mined for storytelling.

Finally, we saw ourselves.

Over the decades, what began as sporadic nods to Black campus experiences has grown into more: portrayals that are both authentic and that challenge stereotypes about H.B.C.U. college life. While there is room for more — and more varied — narratives, in 2022 it is no longer an anomaly to see a television show set at an H.B.C.U., or an H.B.C.U. marching band featured in a music video or commercial, or a real-life celebrity or athlete wearing H.B.C.U.-branded apparel.

Earlier this year, the CW network released “March,” an eight-episode docuseries about the marching band at Prairie View A&M University in Texas. The CW’s new show “All American: Homecoming,” a spinoff of the popular “All American,” takes place at the fictional Bringston College in Atlanta, which is home to several real-life H.B.C.U.s.

“This just felt like an organic opportunity where I can extend what we’re doing on ‘All American’ and explore a whole new different world of Blackness at an older, broader level,” Nkechi Okoro Carroll, the showrunner for “All American: Homecoming,” said in an interview with The Los Angeles Times, adding, “It’s time that people understand we’re worthy of being the ‘A’ story, the H.B.C.U. experience is worthy of being the ‘A’ story.”

In the fashion world, Ralph Lauren used the vintage finery worn by students at Morehouse and Spelman Colleges between the 1920s and the 1950s as inspiration for his new capsule clothing collection, developed in collaboration with the schools and released in March.

And in one of the biggest nods by one of the biggest stars, Beyoncé incorporated the high-stepping electricity of an H.B.C.U. marching band and the iconography of Black Greek life into her historic headlining performance at Coachella in 2018, which came to be nicknamed Beychella. (The performance was documented in “Homecoming,” a behind-the-scenes concert film on Netflix.) The unmistakable sound (her band included performers who had marched in H.B.C.U. bands), the precision choreography, the call-and-response chants, the unwavering spirit — the performance was every bit a visible and visceral celebration of deeply rooted H.B.C.U. traditions.

“This feels like a very new and different moment around the acceptance and visibility and pop-cultural representation of H.B.C.U.s,” said Mark Anthony Neal, the James B. Duke Distinguished Professor of African and African American studies at Duke University.

Will Packer, a top filmmaker and a graduate of FAMU, has both witnessed and contributed to the rise in visibility of H.B.C.U.s. He also remembered the one-two punch of “A Different World” and “School Daze” as his own meaningful introduction to seeing H.B.C.U. life onscreen.

“That was the first time I saw those images and was able to really process them in a way that said, Oh, this is a real place,” said Mr. Packer, whose producing credits include “Ride Along” and “Straight Outta Compton.” Seeing those early depictions, he said, was “not just something fresh out of Hollywood but someplace I can have access to.”

Click here to read the full article in The New York Times.

Dr. Dre helps break ground on new Compton High School performing arts center

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Dr. Dre

By ABC 7

A performing arts center at Compton High School that’s being built with the help of music mogul Dr. Dre is one step closer to becoming a reality.

The Compton native – who donated $10 million to the project – joined city and school leaders for a groundbreaking ceremony to celebrate the first step in getting the center up and running.

The facility will include a 1,200-seat theater and will be a place for young people to be creative in a way that will help further their education and positively define their future.

“When I was approached about funding a performing arts center that would provide an arts and technological education to students and be accessible for the community at large, I was all in,” said Dr. Dre. “I wanted to give the young people of Compton something I never had.”

Dr. Dre – born Andre Young – grew up in Compton and first rose to fame as a member of NWA, whose debut album was titled “Straight Outta Compton.”

He later found success as a solo artist, producer and businessman.

The performing arts center will be the first new high school facility to be built in almost a decade in the greater Los Angeles area.

Compton High School is more than 100 years old.

“This is very historical for Compton,” said Compton Unified School District Board President Micah Ali.

Click here to read the full article on ABC 7.

Viola Davis on Hollywood: ‘You either have to be a Black version of a white ideal, or you have to be white’

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Viola Davis speaking to audience standing behind podium

By , The Guardian

Many of us had existential thoughts during lockdown, and assuaged them with new hobbies. We did thousand-piece puzzles. We crocheted and knitted. We learned new songs on our guitars, baked overzealously, and connected with our plantlife. For Viola Davis, knocking around in her $5m mansion in Toluca Lake, Los Angeles, it was writing, though the nature of it was less assuagement than staring into the coalface of an existential crisis. Who am I? What is my life supposed to mean? If this isn’t it – the Oscar winning, the formidable trail of accolades, the palatial bathrooms and saltwater pool – then what is?

“I lost my mind during the pandemic,” she tells me from her bedroom, dressed pre-photoshoot in a grey sweatshirt and loose woollen hat. “I just wandered around this house like Mary Tyrone in Long Day’s Journey Into Night.” She laughs about it (she has a deep laugh and a deep, mighty voice inherited from her grandmother), but the memoir resulting from the time spent writing is anything but light. She has a story to tell, a gripping, emotive, at times spine-tingling story, with pathos and pain, triumph and redemption, setting a new benchmark for the celebrity confessional. Finding Me is a page-turner, written with narrative knowhow and stylistic competence.

Over a matter of months – interrupted by the filming of The First Lady, in which she plays Michelle Obama, and The Woman King, a historical drama set in the Kingdom of Dahomey (now southern Benin) in west Africa, both projects from her company JuVee Productions – she grappled on the page with the spectre of her poverty-stricken childhood and her subsequent thorny rise to the top, a place that turned out to be less comfortable than imagined.

“Whenever you’re still, whenever you’re quiet, whenever you put everything down, then everything in your life comes into full focus. It comes at you like a jackhammer,” she says of the big, Covid-induced pause. But it was not only the pandemic that led her to the blank screen. The crisis was already in process. “I think it’s been happening ever since my status started to rise,” she says. “When it first rises, it’s nothing but excitement, nothing but an understanding that this is a culmination of your hard work, your talent. You just feel like God has blessed you – I still feel that.

“And then it moves along: what no one tells you about being ‘on top’ is the minutiae of it, the cost of it, the pressure of it, the responsibility, and finally the disillusionment. You feel like you’ve found something you love to do and you’ve made it, your life’s all sewn up – and then you hit it, and it’s just a level of emptiness, of wondering what your life means, and then you crash and burn. I had to go back to the source and revisit my life, revisit my stories, to sort of catapult me into something so I could find home – find me. I’d been lost in it all.”

In 2016, with her Academy Award win for best supporting actress for her role in Fences, based on an August Wilson play, Viola Davis became the first African American to achieve the triple crown of an Oscar, Tony and Emmy for acting (the Tony was for a Broadway role in Wilson’s King Hedley II; the Emmy for the TV legal thriller How to Get Away With Murder). She is the most nominated Black woman in the history of the Academy Awards (she received nominations for Ma Rainey’s Black Bottom, another Wilson adaptation, as well as The Help and Doubt) and has been ranked in the top 10 of the New York Times’ list of the greatest actors of the 21st century. Her execution of her roles is both exacting and magnanimous, ever astute, possessing a haunting integrity that makes each character seem profoundly known, tangible and self-possessed.

The consummate humble artist, she deems fame and glory secondary to the work; she is modest about her trophies, and dismissive of efforts by her actor husband of almost 19 years, Julius Tennon, and their adopted daughter, Genesis, to splash them around the house. “If it were up to me all the awards would be in the garage,” she says. “I mean, it’s just not my style – it’s a bit too much. Listen, it’s not that I haven’t looked at the Oscar or whatever and thought: wow, that’s pretty awesome. I’m very grateful, but, you know, you can’t live there. Soon as you get it, you walk off the stage, you’re an Oscar winner, but then it’s like, and now what? And then you gotta go on to the next job, and start all over again with that impostor syndrome.”

Click here to read the full article on The Guardian.

Ironheart is Reportedly Looking to Cast a ‘Black, Latina or Afro-Latina’ Trans Woman

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Ironheart animated cartoon cover, iron heart is holding iron man while wearing casual street clothes

By Rebecca Kaplan, Movie Web

Marvel Studios is reportedly looking to cast a smart, confident transgender female character in the Disney+ series Ironheart. According to POC Culture, Marvel sent out a casting call for the upcoming series for a “Black, Latina or Afro-Latina transgender” actress between 18 and 22 years old. If the studio follows through with casting a trans actor, the Ironheart actress would be the fourth trans actor to appear in the Marvel Cinematic Universe and third trans woman. Ironheart stars Dominique Thorne (Judas and the Black Messiah) as Riri Williams, as well as Anthony Ramos and Lyric Ross in yet-to-be-announced roles. In the comics, the character is a super genius by five years old and enrolled in the Massachusetts Institute of Technology by 15 years old. After her best friend and father are killed in a drive-by shooting, Riri wants to protect her hometown and the ones she loves, so she reverse engineers Tony Stark’s Iron Man design to create her own suit of armor—the most advanced of its kind since Stark’s Iron Man designs themselves!

“One of the characters that will be introduced in the upcoming Ironheart Disney+ series is going to be a Black, Latina or Afro-Latina transgender character,” said POC Culture’s Ron Seoul-Oh. The publication’s report continued on, adding, “the character is portrayed as she/her, [who] is around 18-22 years old.”

The casting call for the character also describes her as “smart” and “confident,” “with a mystical bent and unique sense of humor,” adding that she is “unapologetically nerdy about things that excite her…even if they might be terrifying to others.” Although this casting description doesn’t point to any specific character from Marvel Comics, fans are excited about the prospect of a POC trans woman joining the cast of Ironheart.

There are also rumors the show is looking to cast an older non-binary actor for a major role and Marvel and Disney are considering making Riri bisexual.

This Would Not Be the First Trans Character in the MCU

After The Walt Disney Company and CEO Bob Chapek’s failure to oppose Florida’s “Don’t Say Gay” bill, the company needs to earn back goodwill and trust with its LGBTQIA+ audiences. Even if it seems like shouldn’t be remarkable to see a trans actor on-screen, it still is. Not backing out on its recent promise to have more diversity and inclusion in its content—for example, by casting a Black, Latina or Afro-Latina transgender character in Ironheart—is a first step toward Disney showing it’s a true ally to the queer community.

Although it’s worth celebrating more trans representation on-screen in Ironheart, casting a trans female character in the Disney+ series wouldn’t be a first for Marvel, especially now the Netflix shows seem to be back into the canon with Matt Murdock (Charlie Cox) and Wilson Fisk (Vincent D’Onofrio) appearing in the MCU. For example, trans actress Aneesh Sheth (The Walking Dead) played Gillian, a trans woman and Jessica Jones’ (Krysten Ritter) assistant in Jessica Jones Season 3. Notably, Gillian’s trans identity isn’t a plot point.

“There’s no narrative around her identity, which I think is wonderful because trans people exist in the world, and it’s not always about their [trans] narrative,” Sheth told iNews.

Click here to read the full article on Movie Web.

Instagram adds credits to ensure more Black creators are cited for their work

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Black Creators Cameryn Boyd and Alexis Michelle Adjei came up with a way for Instagram to address

By Randi Richardson, NBC News

Instagram announced Monday that it will introduce a special tag for professional accounts and influencers that ensures they receive credit for their content, an attempt to address complaints that Black users are not credited for starting trends or are shut out from profiting from them.

The tag is available to business and creator accounts, and comes on the heels of nationwide discussions and content strikes by Black content creators who pushed out viral posts saying they do not receive credit for their work.

Alexis Michelle Adjei, a data analyst, and Cameryn Boyd, an engineer, envisioned and created the label with these disparities and Black creators in mind, particularly that creators make a living off producing social media content and that Black creators should share equally in that, too, they said.

Adjei said, “Black creators and addressing that inequity in the creator ecosystem” was top-of-mind when developing the new feature.

Twice as many white influencers are making upward of $100,000 a year as are Black ones who are making similar content to similarly sized audiences, according to a study published in December by MSL, a communications company, and The Influencer League, an educational organization. The report also found a 29 percent pay gap between white creators and all creators of color.

“We want to ensure that as Black creators’ content is being distributed as it already is, they are getting the proper attribution so that they have the opportunity to get all of those growth and monetization and career-starting opportunities like their contemporaries are,” said Boyd, a Spelman College graduate. “It’s really critical, as we’re moving towards this new age where creators are so important and creators are really able to use their craft to support themselves in their lives, that Black creators are getting the same opportunity, as they’re already creating the content.”

Adjei and Boyd joined Meta in August 2020 before landing on the idea the following February. They worked on it with colleague Alexandra Zaoui, building it out together and pitching it across different teams at Instagram’s parent company, Meta, until eventually getting their own team, which prepared the feature to launch this week under the pair’s leadership.

Adjei, a Stanford University graduate, said the need for a formal credit was apparent, and it just took the right set of eyes at Meta to see it.

“I think we were just so close to the need that we were able to see and we kind of had that same situation of like, why doesn’t this exist? And then we went the next step of like, let’s make it exist.”

Click here to read the full article on NBC News.

Celebrate Black Women in Film With These 20 Classics

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4 black women in film movie covers

By , The Cut

There is something nourishing about seeing your realities reflected back onscreen. Multidimensional stories that don’t force you to settle for bits and pieces of yourself in characters who don’t experience the world like you do. Films that carefully and tenderly explore the interior lives of Black women and girls — our happiness and sadness, our friendships and romances, our varied relationships to our mental health and our bodies, our undoings and rebirths and all the messiness that comes with being human in a deeply imperfect world. While these kinds of stories have long been told, they’re rare and often underappreciated in mainstream Hollywood because, well, Hollywood.

Fortunately, there are resources that make finding dynamic stories much easier: Black Women Directors, an ever-growing digital library founded by Danielle A. Scruggs, spotlights Black women and nonbinary filmmakers across the diaspora. Maya Cade’s Black Film Archive is a growing register of Black films from 1915-1979. Transgender Media Portal features Black filmmakers, as well as other artists of color, with stories that center trans and queer people in front and behind the camera. And film festivals like Black Femme Supremacy, founded by Nia Hampton, are great for finding new stories and connecting with other film lovers.

While this curated watch list doesn’t scratch the surface of what’s out there, these 20 films centering Black girls and women are a great starting point of stories for us and by us.

Jinn (2018)

Photo: Orion Pictures Corp/Courtesy Everett Collection

Guided by filmmaker-writer Nijla Mu’min, this tender coming-of-age story set in the Crenshaw community of Los Angeles follows 17-year-old Summer (Zoë Renee) as she experiences first love, a deepening relationship with Islam, and the ups and downs of a mother and daughter’s clashing self-discovery.

I Like It Like That (1994)

Director Darnell Martin and lead Lauren Vélez are a union that continue to shine on screen almost 28 years later. If you’ve got a soft spot for seeing New York City on film — the stoop hangouts, confrontations in the bodega, ruminations on the train — then this tale of a fly working mom struggling and persevering in the Bronx will feel like a hug.

The Watermelon Woman (1996)

Filmmaker Cheryl Dunye wrote and starred in this seminal mockumentary that’s now a must-watch part of the queer-cinema canon. The story centers a filmmaker and video store clerk, who is also a Black lesbian in ’90s Philadelphia, as she searches for information about a mystery queer Black woman from a silent film. Expect a delightful dose of nostalgia — hello, video-store connections!

Abundance (2021)

Amber J. Phillips is a filmmaker and art director whose hilarious sharp cultural commentary “imagines a world where Black womanhood is an abundant overwhelming experience of safety, pleasure, and joy.” Her latest project, which she wrote, produced, and stars in, is a 31-minute meditation on identity divided into three parts — fat, angry, queer. Abundance is directed by Kym Allen, with cinematography by Sade Ndya.

Baldwin Beauty (2020)

This 11-minute gem of a short film follows Farrah (Raven Goodwin), a new-to-Los-Angeles hairstylist who makes a house call and meets a lively group of friends pregaming before an outing. The film was written and directed by Thembi Banks and was a 2019 Sundance selection.

Jezebel (2019)

A young woman (Tiffany Tenille) enters the realm of cam modeling with encouragement from her big sister, who works as a phone-sex operator. The film is inspired by the lived experience of writer-director-co-star Numa Perrier (hay, Black & Sexy fans!), and explores stepping into one’s womanhood and the realities of survival for two sisters as they simultaneously process grief.

Miss Juneteenth (2020)

Writer-director Channing Godfrey Peoples honors the Fort Worth, Texas, community she was born and raised in with Miss Juneteenth. The film follows Turquoise (Nicole Beharie), a single mother and past Miss Juneteenth pageant winner, as she pushes through hard times and trying to establish her independence while dreaming big for her teen daughter (Alexis Chikaeze).

Pure (2021)

17-year-old Celeste (Mikayla Lashae Bartholomew) grapples with her queerness and the traditions of her affluent community on the eve of her cotillion. Writer-director Natalie Jasmine Harris, who brings the authenticity of a third-generation debutante, is currently adapting the short film into a feature-length script.

The 40-Year-Old Version (2020)

Photo: Netflix/Courtesy Everett Collection

Finding your groove at any age can be tough. Add in being an artist who is sensitive about your shit in an industry full of white nonsense, grieving a parent, a younger Brooklyn boo, and casually being roasted by NYC teens from your drama class, and whew! Radha Blank’s black-and-white dramedy — which she also wrote, produced, directed, and starred in — is a delight. Bonus incentive to watch: We get to see Blank rap-ping!

A Luv Tale (1999)

In 1999, Sidra Smith wrote, produced, and directed a film centered around a photographer (Gina Ravera) and a work-consumed magazine editor (Michele Lamar Richards) who find themselves increasingly drawn to each other. It’s a fun and sensual portrayal of romantic love between Black women, friendship, and taking a leap of faith in the name of love. Expect to see familiar faces like Tichina Arnold, MC Lyte, Ajai Sanders, and Angela Means.

Happy Birthday, Marsha! (2018)

A shining aspect of artist Tourmaline’s creative output is her archival work of Marsha P. (“Pay it no mind”) Johnson and her experimental film portraiture of Black trans and queer elders. In this short, which was co-directed by Sasha Wortzel and stars Mya Taylor as Marsha, viewers get to go back in time hours before the pioneer sparked the 1969 Stonewall riots in New York City.

Just Another Girl on the I.R.T. (1992)

Filmmaker Leslie Harris’s tale of a high-school junior, Chantel (Ariyan A. Johnson), from Brooklyn with big dreams is a classic. The headstrong teen’s life plan is set: Graduate early, keep on the path to becoming a doctor, and leave the projects — but as life often reminds us, things rarely play out exactly how we envisioned it.

Click here to read the full article on The Cut.

These Afro-Latina Beauty Influencers Know How to Celebrate the Wonders of Black Beauty

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Black Beauty Influencer smiling at the camera ina. yellow tank top and light blue jeans. Behind her is a calendar on the wall and some post its

By ASHLEY JIMENEZ, PopSugar

Afro-Latinas are very much a part of the Black diaspora, yet there’s still a major lack of representation. Growing up, I rarely saw Afro-Latinas in television series, movies, books, or advertising campaigns. Although I recall seeing Afro-Cuban singers like Celia Cruz and La Lupe in music, there was still a massive part of the media counting us out. Pop culture consciously spoke to Latinas who saw themselves reflected in celebrities like Jennifer Lopez, Shakira, and Mariah Carey. Although these A-listers are glamorous, respectfully, they do not represent the diversity of Black beauty within our community. They cater to Euro-centric beauty standards such as fair skin, light eyes, and straight hair.

Hence Afro-Latinos within the Dominican Republic, Cuba, Honduras, Panama, and Colombia, to name a few, are curating their own spaces. And this is especially true of the hair, makeup, and skin-care industries, where influencers and entrepreneurs are forging a representation path for those who identify with these experiences. Here, we collected the perspectives of Afro-Latinas who turn to Black women for inspiration and are honoring the African diaspora and embracing their Black beauty through their brands and the content they share on social media. Because, as Lulu Cordero points outs, “Our hair, skin, hips, etc., are a part of Black beauty.”

Alexa Dolmo
When Alexa Dolma came to Houston from Honduras, she did not see any representation of herself among the masses. The influencer identifies as Garifuna, a mix of African and Indigenous ancestry, mainly from the Caribbean coast of Honduras, Guatemala, Nicaragua, and Belize. Over the years, Dolma tells POPSUGAR, she’s grown to be more vocal and confident about celebrating her Afro-Latina roots on her page and Garifuna Bosses, the platform she created to represent and highlight other Garifuna women. Dolma has featured Black women like Kalifa Marin and Eunice Suazo, the founders of Tru3 B3llas, a hair-care brand that offers detangler brushes, edge controls, and bonnets. “I felt the need to do this because, as a blogger, I always came across pages that highlighted other bloggers, and I never saw one who did the same thing for my people,” she explains.

As a proud Black Latina, Dolma says she saw herself in the rom-com “Nappily Ever After” featuring Sanaa Lathan. Based on Trisha R. Thomas’s novel of the same name, the film illustrates the relationship between Black women and beauty standards imposed on them by society. “This movie shows that our hair is beautiful whether bald or full of coils,” the beauty influencer says.

Lulu Cordero
Lulu Cordero, the CEO of Bomba Curls, wasn’t always proud of her natural hair. Like many, growing up she heard the word pajón when people referenced her hair, but when she stepped into womanhood, Cordero decided to let go of the relaxer and embrace her natural texture. Being an Afro-Latina from the Dominican Republic, she always knew the beauty benefits of natural ingredients, and that’s how she decided to formulate her line of curly-hair products featuring fundamental formulas such as cafecito, rosemary, and more.

“Our hair, skin, hips, etc., are a part of Black beauty. These are all gifts from our ancestors, and by celebrating said gifts, I honor them,” says Cordero, who remembers watching Dorothy Dandridge in “Carmen Jones” as a pivotal moment in celebrating Black beauty and representation. The 1950s American musical features an all-Black cast and tells the story of a parachute-factory worker and an Army corporal. “I’d never seen anything like it before. Before that, I’d only seen Latino media, which has a history of erasing us.” Seeing the iconic Black actor sport a sultry red lip and epitomize retro glam gave the beauty entrepreneur hope.

Sherly Tavarez
Like many Afro-Latinx women, Sherly Tavarez grew up hearing the phrase pelo malo, which means “bad hair.” After years of chemically treating her gorgeous curls, the fashion stylist decided to design apparel to debunk the notion of “bad hair” once and for all. The Dominican blogger created Hause of Curls and is now known for her shirts and accessories that read “Pelo Malo Where?” and her feed that features diverse women within the natural hair community.

“My first time appreciating the beauty of my Afro-Latinidad was when I watched the Netflix series ‘Celia,'” Tavarez says. “It taught me about my background, roots, what it was like to be an Afro-Latina back in the day, and how much we have had to fight to be seen.” She adds: “Back when I was straightening my hair all of the time and honestly being a slave to my hair, I didn’t feel like my true self. I felt like I was celebrating a version of myself that other people told me to be. I didn’t even know what my natural hair looked like until I stopped applying heat and relaxing my hair. Now I celebrate by sharing my journey to natural hair with others and by building this community we have at Hause of Curls.”

Click here to read the full article on PopSugar.

André Leon Talley, “One of the Last Great fashion Editors,” has died at 73

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André Leon Talley headshot

Posted on TMZ
A source with direct knowledge tells us Vogue’s former creative director and one-time editor-at-large passed away Tuesday at a hospital in White Plains, NY. It’s currently unclear exactly what he was battling in the hospital.

Talley was instrumental to Vogue’s vision and direction in the ’80s and ’90s, when he worked his way up the magazine ranks to eventually become the news director — which he helmed from ’83 to ’87 — and then ascended to Vogue’s creative director in ’88.

He held that post for a good 7 or so years, and before long … he was heading up all of Vogue as the EAL — with a slight break in between — until 2013, when he left the company. Even after his official departure, however, he continued to contribute to Vogue in varying capacities … including podcast appearances.

He will perhaps be best remembered as a trailblazer in the fashion world — not just for his stylish flair, but for his push to include more POC on the runway … specifically, Black models.

His work and career speak for themselves … and so has his consulting work elsewhere, including being a stylist for the Obamas at one point during Barack’s presidency, and even serving as a judge on ‘America’s Next Top Model’ … among many other notable achievements, like his ‘SATC’ cameo and frequent Wendy Williams chats.

Read the complete original article posted on TMZ.

Why Beyoncé and Jay-Z Are on Track to Make History at 2022 Oscars

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jay-z on track to make history at the oscars with beyonce

By Gabrielle Chung, NBC

It may just be Oscar gold everything for Beyoncé and Jay-Z.

The powerhouse couple is one step closer to becoming Oscar nominees after they were both named in the shortlist for the best original song category at the upcoming 94th Academy Awards. The list of 15 contenders, which was announced on Dec. 21, recognized Beyoncé’s “Be Alive” from “King Richard” and “Guns Go Bang,” Jay-Z’s collaboration with Kid Cudi, from “The Harder They Fall.”

If Beyoncé and Jay-Z are nominated, it will be the first time in Oscars history that a married couple will face off against one another in the same category, according to Variety and Billboard.

Other stars who landed on this year’s shortlist include Billie Eilish and Finneas for “No Time to Die” from the latest James Bond film of the same name; Lin-Manuel Miranda for “Dos Oruguitas” from “Encanto”; and Ariana Grande for “Just Look Up,” her collab with Kid Cudi from the “Don’t Look Up” soundtrack.

Last year’s winner H.E.R. also made the shortlist, as well as songwriter Diane Warren, who has been nominated 12 times in the best original song category without a single win.

Voting for nominations will take place between Jan. 27 and Feb. 1, and fans will see if Beyoncé and Jay-Z will make history when nominees are announced on Feb. 8. Queen Bey was previously shortlisted for “Spirit” from “The Lion King,” but neither she nor Jay-Z has been nominated for an Academy Award.

The 2022 Oscars shortlists come hot on the heels of news that Beyoncé and her three children with Jay-Z — Blue Ivy, 9, and 4-year-old twins Sir and Rumi — will be featured in a new theme song for her mother Tina Knowles’ upcoming Facebook Watch series, “Talks With Mama Tina.”

“I loved filming this show and sitting down with so many amazing people because we got to have such honest heartfelt conversations and I got to make them my famous GUMBO!” Tina shared alongside a trailer of the show. “Thank you to my baby @beyonce and my beautiful grand babies for making this special theme song for the show. Are you guys ready to watch?”

Click here to read the full article on NBC.

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