April 18, 2013
LAWT News Service
Following performances in New York City Alvin Ailey American Dance Theater has returned to Los Angeles April from 17-21 with a six performance engagement at The Music Center and activities throughout the city. The company will also hold Revelations student residencies and master classes in schools across the city, sponsored by the Glorya Kaufman Dance Foundation. Led by Artistic Director Robert Battle in his inaugural Music Center engagement, Ailey’s dancers, including guest artist Matthew Rushing from Los Angeles, will bring three programs to the stage of the Dorothy Chandler Pavilion:
AILEY SPIRIT (Sat Eve April 20) Ronald K. Brown’s landmark work Grace, created Alvin Ailey® American Dance Theater in 1999, has returned to the repertory in a rapturous, spiritually-charged new production, and Ohad Naharin’s unique and innovative Minus 16, breaks down barriers between audience and performers.
21st CENTURY AILEY (Thur April 18, Sun Mat April 21) Another Night, by rising young choreographer Kyle Abraham, innovatively fuses the many dynamic facets of American dance and showcases the artistry and versatility of the Ailey dancers. Artistic Director Robert Battle’s Strange Humors is a thrillingly intense duet, set to John Mackey’s propulsive score for strings and African drum that pits two men against each other. Petite Mort, a ballet of breathtaking sensuality and visual surprises, marks the first time a work by renowned European choreographer Jiří Kylián appears in the Ailey repertory.
CLASSIC AILEY (Fri April 19, Sat Mat April 20) features a vibrant anthology of highlights from founder Alvin Ailey’s prolific 30-year career including sections from Memoria, Night Creature, Phases, Opus McShann, Love Songs, For “Bird” – With Love, Hidden Rites and Cry.
“All programs culminate with Alvin Ailey’s timeless American masterpiece, Revelations,” said event organizers.
“The Ailey Organization, continuing its mission of using dance to educate, inspire and entertain by reaching young people, will brings its acclaimed Revelations: An Interdisciplinary Approach curriculum program, as well as Master Classes and Lecture-Demonstrations, to Los Angeles area schools,” they said.
“Utilizing Alvin Ailey's signature work, Revelations, the educational program is an inspirational framework for a comprehensive study of language arts, social studies, and dance. Thanks to the support of Glorya Kaufman, the programs will reach students in Los Angeles area schools.”
On Friday April 19, Glorya Kaufman Presents Dance at the Music Center will host the AILEY DANCE PARTY on the 5th floor of the Dorothy Chandler Pavilion immediately following the performance. The party will feature a live DJ, dancing with the Ailey dancers, food and cocktails. Party tickets are $100 per person, and $75 of each ticket goes to support programs at The Music Center, including arts education and no-to-low-cost community programs.
“Given Alvin Ailey’s history with Los Angeles, the city where he grew up and began his journey in dance, it is only fitting that Ailey will be inspiring so many during the Company’s return,” stated Artistic Director Robert Battle. “ I’m thrilled to showcase the depth and breadth of the dancers’ artistry at the Music Center, with a diverse repertory featuring new treasures by talented contemporary choreographers and a program that highlights the genius of our legendary founder.”
Renae Williams Niles, Director of Programming for The Music Center, said, “Every time the Ailey company returns its a joyous homecoming as it was right here in Los Angeles that Ailey spent his formative years as a dance student, dancer and budding choreographer. This year we will highlight the significance and universal allure of Ailey’s Revelations…”
April 11, 2013
By LAWT News Service
AEG and BET NETWORKS education initiative, Next Level, in partnership with the GRAMMY® Museum, will provide a free, three-day educational and empowerment program for Los Angeles area high school students ages 16-18 who are interested in careers in the music industry during the BET Experience at L.A. LIVE, June 28-30, said event organizers. Students will learn about careers in music including event production, music journalism, as well as the history and impact of African American culture in music.
“We’re so thrilled to expand the impact of the BET Experience to include a music education element,” said Debra L. Lee, chairman and CEO of BET Networks. “We will create an environment where students interested in a career in music have the opportunity to get a unique educational and empowerment program.”
The BET Experience Youth Program begins on Friday, June 28, with a full day of educational activities at the GRAMMY® Museum including a guided tour of the BET exhibit featuring Lifetime Achievement Award recipients curated especially for the BET Experience at L.A. LIVE and the first of several scheduled lectures over the course of the program. On Saturday, June 29, students will have the opportunity to attend a Music Matters Showcase concert, attend a live taping of “106 & PARK” and engage in a Q&A with the hosts, as well as attend a rehearsal of the BET Awards show. On Sunday, June 30, BET Experience Youth Program attendees will attend the “SUNDAY BEST” concert featuring Kirk Franklin & Friends, visit the Genius Talk seminars and participate in a Fan Fest Educational Scavenger Hunt. To conclude the program, students will attend the BET Awards ’13th telecast.
“AEG is committed to increasing educational opportunities for young people, especially in the area of music education,” said Martha Saucedo, executive vice president, External Affairs of AEG. “We are pleased to provide a hands on opportunity for students to learn about pathways to a career in the music and entertainment industries.”
Eligible students may apply for the BET Experience Youth Program online at www.lalive.betexperienceyouthprogram.com. A total of 40 students will be selected to participate. In addition to the online application, students are required to include a letter of recommendation from a teacher and write a 1-2 page essay on the history of African American music and its impact on their lives.
April 11, 2013
By Kenneth D. Miller
LAWT Asst. Managing Editor
‘Free Angela’, a gripping documentary reflecting the historic events that catapulted a young Angela Davis into a controversial political icon during the turbulent late 1960’s will made its limited release recently.
In Hollywood there are very few Black distributors and there isn’t one on the level of CodeBlack Entertainment’s Jeff Clanagan.
Moviegoers will see Jamie Foxx, Denzel Washington and Halle Berry on the big screen and feel sense of connection to their character.
Then there are your successful Black screenwriters such as Tyler Perry, Spike Lee and John Singleton who are also behind the lens directing their projects.
Hollywood has not always been kind to Blacks. Since the turn of the century when Oscar Micheaux became the first Black film star in 1914, the industry has mass-produced a negative perception of Blacks.
Way before the success of current stars, Blacks could only get in front of the camera if they wanted to play the role of the maid or the butler, as white filmmakers such as D.W. Griffith produced such despicable films such as ‘Birth of A Nation’, until an even worse--Black filmmaker- Lincoln Theodore Monroe Andrew Perry- arrived with the character of ‘Stepin Fetchit.’
Clanagan is determined to embrace the Black market and thus become responsible to it.
“The reality is there have been a lot bad experiences for African Americans because we are trying to assemble in Hollywood instead of creating our own commerce and business,” explained Clanagan in a recent exclusive interview from his Lionsgate office Santa Monica office.
Clanagan is the CEO of CodeBlack Entertainment, the first independent, vertically integrated Black owned film studio, actively engaged in the business of feature film production, film distribution, worldwide DVD and digital assets distribution, urban marketing consulting and production of programs for television broadcast and syndication.
He blames as divide and conquer syndrome and crab in the bucket mentality among Blacks as one of the primary obstacles.
“There are five or six major studios and four or five networks, but they don’t have an obligation to give us anything,” he declared. “The people who run those studios or networks are descendants of people from the past, so they don’t have an obligation to us. So, we go in with our hands out and we get crumbs as opposed to recognizing our economic power that we have proven and harnessing that power to create our own business.”
CodeBlack Entertainment was created to facilitate positive representations of African-Americans in film. A multi-faceted entertainment organization, CodeBlack provides a consistent stream of urban-themed programming that is distributed across theatrical, digital, broadcast and internet-based platforms.
It owns the larges catalog of Black material in the world, an expansive library that consists of dramatic, comedic, romantic and faith-based titles featuring top African American and Latino talent.
In just a short period of time Clanagan has already established CodeBlack Entertainment as an independent distributor of urban-themed content releasing urban content through theatrical, DVD, and broadcast channels and has further increased its equity by developing a strategic business alliance with one of Hollywood's biggest media conglomerates Lionsgate.
The company has a multi-picture deal with Lionsgate, to produce original urban films targeting the African-American market.
Previously he enjoyed such a relationship with Fox where he produced film adaptations of the 1980s Off-Broadway gospel musical hit Mama, I Want to Sing! as well as the popular play A Good Man is Hard to Find. In June 2009, the entered into a partnership with basketball player Shaquille O’Neal to produce and distribute the All Star Comedy Jam series. Featuring some of the most celebrated stand-up comics.
Most recently CodeBlack has enjoyed enormous success with comedian Kevin Hart and has a long working relationship with Lionsgate.
Clanagan elaborated; “Once you are able to create you own business and can do it on your on, then instead of asking for stuff you are able to create partnerships based on your ability to produce. I am not saying that you have to be in business with studios, but there is a way that you can be in business with them as a partner.”
As he sees it there isn’t a system for Black executives to exist at the studios and networks and conversely when Blacks attend college they are not learning about public relations and marketing jobs behinds the scenes, but instead are taught to go for the more popular jobs in front of the camera.
“The other part of that dilemma is that as actors and producers we fail to arm ourselves with the proper information so that we can go in and intelligently negotiate the best deal for us,” he added. “What I mean by that is we don’t understand the numbers and the economics of the movie business.”
Clanagan decided upon the name CodeBlack to directly deal with the stigma of racism in the industry. He courageously ran to who his race, instead of from it. Studios executive have ultimately respected him for his stance.
So, CodeBlack Entertainment doesn’t just have the right man for it’s job, but Hollywood has the right man to be The Black Power of Hollywood.
April 11, 2013
By Chelsea Battle
LAWT Contributing Writer
“Be patient, work hard, know that God’s working for you, and never let your age define your success.” Carlos King offers up this sage advice from the standpoint of one who has lived its truth. With his recent success working as Co-Executive Producer for Love and Hip Hop Atlanta, a reality show which attracted an enormous following of more than 3 million viewers with its season premiere alone, King is living proof that patience, faith, and hard work can indeed pay off.
As a young boy growing up in the “Motor City” under the watchful eye of a father who toiled for the Ford Motor Company for twenty long years, Carlos King had already set his sights elsewhere. He recalls living amongst many plant workers who defined their success by whether or not they worked for one of the “Big 3” plants. While he respected the work that his father did, he decided early on that Detroit life was not for him. He kept himself sane by watching television, a past time which fueled his dreams of working in the entertainment industry.
“Detroit isn’t really the type of place for entertainment,” King explains. “Being somebody that just knew that I wanted to get involved in the entertainment industry somehow, I was always this kid who just dreamed of making it big and moving to New York City. I always had this type of ambition because I knew that I didn’t want to just live in Detroit for the rest of my life, and when the opportunity came for me to move to NY you know the rest was history!”
After moving to New York in 2002 and interning for big time shows the likes of The View and 20/20, he eventually went on to work for BET as a production assistant. It was during his stint there that his mentor, Joy Chen, called and offered him the opportunity to work on the then new reality show called The Real Housewives of Atlanta.
“I was like, ‘Oh God—I got to move to Atlanta for like 3 months’, and the money wasn’t going to be good; I was going to have to take a pay cut, so it wasn’t going to be an easy transition for me. But I always saw the bigger picture because I wanted to do reality. I started working on The Real Housewives of Atlanta and it was the best decision I ever made, because that kind of jumpstarted everything for me. It has been nonstop for me since 2008. That show really propelled my career to unforeseen heights, and you know I never regretted that decision.”
He continued to work on Atlanta housewives as a producer for four years before moving on to become the Co-Executive Producer for Love and Hip Hop Atlanta with Mona Scott Young, the Executive Producer of the series. Through word of mouth he heard that Young was bringing the then New York based show to Atlanta, and he eagerly jumped at the opportunity. The show became an immediate success, earning recognition as the top rated cable show for women 18-49 years old.
“I called Mona Scott Young myself and I told her that I wanted to work on the show,” King recalls. “We had a meeting like the next day and she fell in love with me; I fell in love with her—and she got me a position as Co-Executive Producer. When I came on board they were already casting and I cast Carly. I was like, ‘Mona, Carly is going to be good; she’s messy, trust me!’ I knew immediately after seeing Jocelyn and the whole love triangle that this show was going to be a monster hit. And then it became the number one show on cable!” King proudly exclaims.
As though having the number one cable reality show isn’t noteworthy enough, King also has a few other projects under his sleeve. He has been working on a new show with his good friend and mentor, Tyler Perry. Called Tyler Perry Comes to OWN, the show premieres May 26th on Oprah Winfrey’s OWN Network. Prior to working on this project, King worked with Winfrey as a show producer for Oprah Behind the Scenes for a year. It was under Winfrey’s tutelage that he learned how to run a production empire as the Oprah Winfrey show was embarking on its final season.
“It was definitely a blessing being able to work with her,” says King, “and just kind of be a sponge and watch how she operates, and just really learn how to run an empire.”
King also has a new production company called Kingdom Reign that he is especially proud of. The company came into fruition in September and has been growing ever since. In addition to developing shows, the company provides consultations for people who are interested in pitching shows. It also helps develop talent for those who are interested in doing, or are already involved in, reality television.
“I want to continue developing shows that are hot topics discussions for people who love to watch reality TV, explains King. “I don’t think this genre is going anywhere, so I really just want to take things to the next level and have my company be the premiere destination for the reality shows that ignite controversy and conversation [while offering] really quality programming.”
Season 2 of Love and Hip Hop Atlanta will premiere on Monday, April 22nd at 8p.m.
April 11, 2013
Your enthusiasm has an effect on the outside world on Monday and Tuesday. It's almost as if flowers lift higher out of the earth when you walk by. Midweek, walks are great, and in keeping with your mood, when progress is a concern but speed is not. Thursday and Friday are especially molasses-filled days, but, like molasses, they are not without a certain amount of sweetness. You will reap rewards for your perseverance. Saturday and Sunday, by comparison, are strapped-to-a-rocket speedy. Expect your hair to get wild.
You are of two minds about everything at the beginning of the week. The best advice is to shop around. Don't take the first thing that catches your eye if it's not right. Don't feel pressured to accelerate through the decision-making process. Starting Wednesday, everything will be easier, and you'll feel good just from being in the company of people who know you. Thursday and Friday find you happy as well, appreciative of everything you have, wondering if you've become a glutton, what with all the excess that surrounds you. Nevertheless, this weekend you will be in the mood to shop.
Whatever you're feeling on Monday, you're not alone. The people around you are more complicated (and more understanding) than you may realize, and talking with them -- or finding another way to express yourself -- is a grand idea. Tuesday's great for communicating as well. Wednesday and Thursday are more introspective days (you will have to call on inner resources to get everything handled), and Friday involves an awkward squabble with someone nearby (a coworker or a neighbor). But Saturday and Sunday are bursting with goodness and, possibly, romance.
The slightest suggestion recalls a whole world to you on Monday and Tuesday. A smell, a color, even a word brings you right back to something from your past (and all the attendant emotions). On Wednesday and Thursday, dinner parties, charming people and your house all figure strongly, and Friday is full of crazy ideas and a sense of urgency about generating newer, crazier ideas. Saturday is the kind of day when you'll walk to the store and, on a whim, decide to keep walking -- just to see how far you can get, to make an adventure of your afternoon. Sunday, however, is made for completing tasks.
A nice-to-meet-you attitude on Monday and Tuesday is the way to go. Prepare to shake hands with someone who, in the course of a casual conversation, will change your opinion of something. On Wednesday, you won't see anyone except the people you work with, and on Thursday you won't have much room for thoughts except those related to work. But Friday is a total mixed bag: celebrities, the law, your boss, your ego -- all of these things may figure in. The weekend, conversely, is about none of those things. The weekend is about friends, dreams and hopes.
High-spiritedness can quickly become combativeness when tempers run short. On Monday and Tuesday, keep your head on long-term goals (your relationships with the people around you, for instance) rather than short-term questions (who stole your stapler?). It isn't until Wednesday that you begin to feel truly compatible with others this week. Thursday and Friday find you getting a lot done -- and finding more and more things to do (one door, alas, leads to another) -- and the weekend is loaded with potential. It will be a great weekend or a nothing weekend, depending entirely on you.
Whatever else happens, Monday and Tuesday afford you time to spend with you-know-who -- time stretching into forever. What will you do together? It's entirely up to you. But a dose of selflessness isn't a bad idea. What would this other person like to do? Wednesday and Thursday, your mind is still on other people (attachments and alliances are strong themes), and Friday finds you scrambling to find a creative way to tell someone how much you appreciate them. Saturday and Sunday, expressing yourself comes more easily. You'll come up with so many new ideas you won't remember them all.
While your impulse to deal with issues as they arise is a good one, it's not the right impulse on Monday and Tuesday. Avoiding conflict is the order of the day. Things could easily get out of hand. Wednesday and Thursday are better suited to working things out -- although, to your frustration, the best solution most likely requires that you give in on some point (a small point, a painless concession). Boldness is key to getting beyond the obstacles Friday has in store for you, but this weekend you're better off proceeding on tiptoe. Sunday is deep.
Your checklist is a game on Monday and Tuesday -- a competition with yourself, a true test of your effectiveness. You welcome the challenge. You like creating these kinds of games for yourself, and you like getting things done. The secret to Wednesday is in the details, but Thursday and Friday you'd be wise to take a step back and look at everything through wider goggles. On Saturday there is so much going on that you'll have no chance at depth or meaning in your social interactions -- but you'll be so busy this won't even occur to you. Sunday's busy too.
Your family is in your thoughts on Monday and Tuesday. You are feeling loyal and worried in that loving, protective way, and the best thing to do might be to pay a visit. If that's not possible, try to connect in some other way. Wednesday is much more you-centered -- a creative project will have you grinning -- and Thursday or Friday evening might be right for a small trip somewhere, for a couple of hours or overnight. Camping? A motel with a pool in a no-name town? The weekend returns you very much to the real world, full of flaky people, talkative strangers and faithful, brilliant friends.
You're easing into a new approach to your life. Monday and Tuesday, you're feeling a bit radical, a bit bohemian -- or maybe you're just reading too many French novels. It's changing the way you dress though, no? And the way you interact with people? Your values? Wednesday and Thursday, your self-discovery takes on even more dimensions, and on Friday you are baffled not only by your own strangeness but by the strangeness of life itself. It's a wild week for you, internally. And then it becomes wild externally: An out-of-left-field love affair rocks your weekend.
Everything takes on a certain murkiness on Monday, and by Tuesday you'll have no idea which way is up. That kind of disorientation can be fun, so long as you're in the mood for it. Wednesday and Thursday, find antidotes to the ambiguous abstractedness. Make dinner at home. Put down your thoughts in writing. Play an album you know by heart. On Friday, nothing is as strong as the pull of your heart, which may explain why, on Saturday, you'll open up a book of poetry. Sunday isn't a boring day, but you should try to keep the activities cerebral rather than athletic.