Mckee Petition
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^Nnmlbucko 5Th ANNUAL Blac§(
^NNMLBUcko 5th ANNUAL BLAc§( 0'4Sp % Friday, February 12, 1999 • 7:30 PM r-l A “...But Then, She’s Betty Carter” 7:30pm Michelle Parkerson 1980 53 mins This lively film is an unforgettable portrait of legendary vocalist Betty Carter, one of the greatest exponents of jazz. Parkerson’s special film captures Carter’s musical . genius, her paradoxical relationship with the public and her fierce dedication to personal and artistic independence. nltt “A Great Day in Harlem” 9:30 PM Jean Bach 1995 60 mins This documentary offers a cross-section of jazz greats. In 1958 Art Kane orchestrated a group portrait of jazz musicians. Archival footage of interviews, performances and home movie footage rounds out the feeling of this day when the best jazz performers were gathered together. Art Blakey, Charles Mingus, Count Basie and many others. Saturday, February 13,1999 • 11:00 AM “Sousa to Satchmo: Wynton on the Jazz Band” for kids 55 mins The transformation of European symphonic music in the American marching band and ragtime traditions led to jazz. Wynton Marsalis traces this history into New Orleans. Music from Sousa, Joplin and Armstrong are featured. ’’The Wiz” 12:00 Noon Sidney Lumet 1978 133 ns The smash Broadway musical based on the L. Frank Baum book features Diana Ross as Dorothy with a pre-surgical Michael Jackson, Nipsy Russell and Lena Horne. Music by Quincy Jones, Ashford and Simpson, and Luther Vandross. ’’Car Wash” 2:30 PM Michael Shultz 1976 97 mins With the Pointer Sisters and Richard Pryor you can’t go wrong “At the Car Wash!’’ Don’t forget the slamming soundtrack by Rose Royce. -
IN FOCUS: African American Caucus
IN FOCUS: African American Caucus Introduction: When and Where We Enter by BERETTA E. SMITH-SHOMADE, RACQUEL GATES, and MIRIAM J. PETTY, editors “Don’t call it a comeback, I been here for years.” —LL Cool J, “Mama Said Knock You Out” (1990) “Wake up!” —Spike Lee, School Daze (1988) “Memory is a selection of images. Some elusive, others printed indelibly on the brain.” —Kasi Lemmons, Eve’s Bayou (1997) hen we fi rst began to assemble this In Focus on black media, our excitement was quickly tempered by the enormity of the undertaking.1 Should the essays focus on mainstream or in- dependent media? Would the contributors emphasize texts, pedagogy, or research? To what extent should we address issues of Widentity facing not only this type of scholarship but also the scholars themselves? Ultimately, we decided to take on all these questions, using Stuart Hall’s provocation “What Is This ‘Black’ in Black Popular Cul- ture?” as both prompt and connective thread. Written in 1992, Hall’s essay still carries particular resonance for this contemporary moment in media history. Hall makes it clear that issues of identity, represen- tation, and politics will always converge around blackness. Further, Hall’s own academic background reminds us that, as a fi eld, black media studies has always drawn on discourses and scholarship from multiple academic disciplines. This context is particularly important 1 We have chosen to use the term black when describing media texts and elements of popular culture and African American when referring to individuals and groups of people. In the essays that follow, however, the authors use these terms in many different ways. -
Bamcinématek Presents a Pryor Engagement, an 18-Film Retrospective of Richard Pryor, the Beloved Comedian and National Treasure, Feb 8—13 & 19—21
BAMcinématek presents A Pryor Engagement, an 18-film retrospective of Richard Pryor, the beloved comedian and national treasure, Feb 8—13 & 19—21 Weekday double features and all films in 35mm Nelson George, Hilton Als, & Armond White in person “We just loved Richard. He was the only one who could move you to tears. No one was funnier, dearer, darker, heavier, stronger, more radical. He was everything. And his humanity was just glorious.”—Lily Tomlin The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Jan 14, 2013—From Friday, February 8 to Thursday, February 21, BAMcinématek presents A Pryor Engagement, an 18-film revue of the great comic genius Richard Pryor. A major influence on such contemporary comedians as Louis C.K., Chris Rock, Lewis Black, Eddie Murphy, and countless others, the wild and wired Richard Pryor emerged from the Midwestern Chitlin’ Circuit, became a successful mainstream nightclub comic in the 60s, and went on to become a cultural phenomenon, ushering stories and voices from the black underclass into the public eye. In addition to releasing a steady string of epochal, smash-hit comedy albums, Pryor translated his incredible audience rapport into movie stardom, appearing in no less than 40 films. A Pryor Engagement starts Friday, February 8, with Richard Pryor: Live in Concert (1979—Feb 8), which Pauline Kael called “probably the greatest of all recorded-performance films” and is easily one of the most influential stand-up films of all time. Pryor sneak attacks the stage at Long Beach’s Terrace Theater while the audience is still filing in and doesn’t take his foot off the gas, soaking through with sweat as he impersonates the whole of the great outdoors, delivers a brilliant monologue on the sweet science of boxing, and gets confessional about doing coke at grandma’s dining room table. -
Production Biographies Courtney A. Kemp
PRODUCTION BIOGRAPHIES COURTNEY A. KEMP (Creator, Showrunner, Executive Producer, Writer Episode 301, Co-Writer Episode 310) Courtney A. Kemp is a highly regarded creator, showrunner and producer in the television industry. Kemp is the mind behind Starz’ critically acclaimed gritty New York drama, “Power.” The hit series marks her debut as a creator and showrunner and follows the complex character James ‘Ghost’ St. Patrick and his empire. Under Kemp’s leadership, the series doubled viewership from its premiere episode to its finale in the first season and generated the largest concentration of African American viewership of any scripted premium series in almost a decade. As the second season wrapped, “Power” drew a record 6.3 million viewers each week, making it the network’s most highly watched original series on record. For her work on the show, Marie Claire Magazine named Kemp one of “The 50 Most Influential Women in America,” she was included as one of the female powerhouses on Elle Magazine’s “The Agenda” and named one of Ebony Magazine’s “Power 100” honorees. Previously, Kemp was a writer and supervising producer on the celebrated television show “The Good Wife,” which went on to garner nominations for a Primetime Emmy Award for Outstanding Drama Series and a Writers Guild Award for Dramatic Series. She also worked on ABC’s “Eli Stone” and Fox’s “Justice” and “The Bernie Mac Show,” among others. Prior to her work in television, Kemp wrote for many prestigious magazines, including GQ, Vibe, and Marie Claire. Kemp holds a B.A. from Brown University in English Literature and received her M.A. -
Light, Bright, and out of Sight: Hollywood's Representation of the Tragic Mulatto
LIGHT, BRIGHT, AND OUT OF SIGHT: HOLLYWOOD’S REPRESENTATION OF THE TRAGIC MULATTO Alicia Brunson Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS December 2013 APPROVED: George Yancey, Major Professor Ami Moore, Committee Member Harry Benshoff, Committee Member Daniel Rodeheaver, Chair of the Department of Sociology Mark Wardell, Dean of the Toulouse Graduate School Brunson, Alicia. Light, Bright, and Out of Sight: Hollywood’s Representation of the Tragic Mulatto. Doctor of Philosophy (Sociology), December 2013, 161 pp., 14 tables, references, 140 titles. The purpose of this research is to examine the longevity of the stereotype of the tragic mulatto in American film history. Specifically, my research focuses on the portrayals and perceptions of biracial actresses. Media informs, entertains, and influences how we, and especially youth, self-identify and interact with others. This research focuses on the portrayal of biracial actresses throughout film history. It is also important in its investigation of the perpetuation of the one-drop rule. In this research, I will examine if historical stereotypes of tragic mulatto are apparent in contemporary Hollywood film. The methodologies used in this research include a content analysis of films with biracial actresses and an online survey of respondents’ perceptions of four actresses. Statistical techniques used for analysis include ordinary least square regression and multinomial logistic regression. Findings suggest that the tragic mulatto stereotype is not blatant in contemporary Hollywood film, but issues of colorism may be apparent. Copyright 2013 by Alicia Brunson ii ACKNOWLEDGMENTS Wow! What a journey! I did not make it to this point on my own. -
SHE HATE ME a Film by Spike Lee Running Time: 138 Minutes Rated R
SHE HATE ME A film by Spike Lee Running Time: 138 minutes Rated R Visit the Sony Pictures Classics internet site at: http:/www.sonyclassics.com East Coast West Coast Distributor Donna Daniels PR Bazan Entertainment Block-Korenbrot Sony Pictures Classics Donna Daniels Jackie Bazan Melody Korenbrot Carmelo Pirrone Rona Geller Evelyn Santana Lee Ginsberg Angela Gresham 1375 Broadway, 21st fl 330 W. 38th St, 8271 Melrose Ave, 550 Madison Ave, New York, NY 10018 Ste 1005 Ste 200 8th fl Tel: 212.869.7233 New York, NY 10018 Los Angeles, CA 90046 New York, NY 10022 Fax: 212.869.7114 Tel: 212.643.4664 Tel: 323.655.0593 Tel: 212.833.8833 Fax: 212.643.4688 Fax: 323.655.7302 Fax: 212.833.8844 SHE HATE ME Harvard, MBA-educated biotech executive John Henry “Jack” Armstrong (Anthony Mackie) gets fired when he informs on his bosses and initiates an investigation into their business dealings by the Securities & Exchange Commission. Branded a whistle-blower and therefore unemployable, Jack desperately needs to make a living. When his former girlfriend Fatima (Kerry Washington), a high powered businesswoman and now a lesbian, offers him cash to impregnate her and her new girlfriend Alex (Dania Ramirez), Jack is persuaded by the chance to make “easy” money. Word spreads and soon Jack is in the baby-making business at $10,000 a tryst. Lesbians with a desire for motherhood and the cash to spare are lining up to seek his services. But, between the attempts by his former employers to frame him for securities fraud and his dubious fathering activities, Jack finds his life, all at once, becoming very complicated. -
~Iii4470 60908
~III 4470 60908 SPIKE LEE WAS WORN OUT. FOR MORE THAN A YEAR, HE'D BEEN WORKING 16 HOUR DAYS ON THE MOST IMPORTANT FILM OF HIS CAREER. TAKING A BREAK FROM FINAL EDITING AND MIX- lNG, HE VISITED HIS NEW RECORD COMPANY, FORTY ACRES AND MULE MUSICWORKS. ITS UNPRETENTIOUS BUT BUSTLING HEADQUARTERS IS JUST DOWN A FUNKY BLOCK FROM FORTY ACRES AND A MULE FILMWORKS, SPIKE'S MOVIE STUDIO. THREE THOUSAND MILES FROM , THE HOLLYWOOD BOARDROOMS WHERE BOTTOM LINE VOODOOISTS TRY AND TRANSLATE DEMO- GRAPHICS INTO MEGABUCKS, SPIKE AND HIS BROOKLYN-BASED ASSOCIATES WERE WRAPPING UP MALCOLM X, SET FOR RELEASE NOVEMBER 20TH IN OVER 2,000 THEATRES NATIONWIDE. The son of bassist Bill Lee, Spike knows about paying dues. He has overcome the seem- ingly impenetrable financial and creative obsta- cles necessary to realize his cinematic vision. And although he may be a lightning rod for controversy, he does sell tickets. One consistent thread running through Spike Lee films has been his impassioned use of music. "For me," Lee told us, "there's no division between film and music. It all comes under the heading of cinema. The music has the same importance as the acting, the cine- matography, the set design, the cast." After utilizing his father's protean compos- ing and arranging talents on his first four films, Spike turned to trumpeter Terence Blanchard. Blanchard, who played on the soundtrack of School Daze, served as technical advisor for actor Denzel Washington's portrayal of trum- peter Bleek Gilliam in Mo' Better Blues. Blanchard also wrote the score for Lee's last film, Jungle Fever, and now in Malcolm X, he continues as composer and, briefly, as actor. -
April 5, 2016 (XXXII:10) Spike Lee, MALCOLM X (1992, 202 Min)
Online versions of the Goldenrod Handouts have color images : April 5, 2016 (XXXII:10) http://csac.buffalo.edu/goldenrodhandouts.html Spike Lee, MALCOLM X (1992, 202 min) Malcolm X (1992, 202 minutes) Directed by Spike Lee Written by Malcolm X & Alex Haley (book "The Autobiography of Malcolm X") and Arnold Perl & Spike Lee (screenplay). And James Baldwin (uncredited). Produced by Spike Lee and Marvin Worth Music Terence Blanchard Cinematography Ernest R. Dickerson Film Editing Barry Alexander Brown Casting Robi Reed Production Design Wynn Thomas Art Direction Tom Warren Set Decoration Ted Glass Costume Design Ruth E. Carter Larry McCoy…Sammy Maurice Sneed…Cadillac Academy Awards, USA 1993 Debi Mazar…Peg Nominated Phyllis Yvonne Stickney…Honey Best Actor in a Leading Role Denzel Washington Scot Anthony Robinson…Daniel Best Costume Design Ruth E. Carter Sonny Jim Gaines…Cholly Joe Seneca…Toomer National Film Preservation Board, 2010 LaTanya Richardson Jackson…Lorraine Giancarlo Esposito…Thomas Hayer Cast Leonard L. Thomas…Leon Davis Denzel Washington…Malcolm X Roger Guenveur Smith…Rudy Angela Bassett…Dr. Betty Shabazz Craig Wasson…TV Host Albert Hall…Baines Bobby Seale…Speaker #1 Al Freeman Jr. …Elijah Muhammad Al Sharpton…Speaker #2 Delroy Lindo…West Indian Archie Christopher Plummer…Chaplain Gill Spike Lee…Shorty Karen Allen…Miss Dunne Theresa Randle…Laura Peter Boyle…Captain Green Kate Vernon…Sophia William Kunstler…The Judge Lonette McKee…Louise Little Nelson Mandela…Soweto Teacher Tommy Hollis …Earl Little Ossie Davis…Eulogy Performer (voice) James McDaniel…Brother Earl Ernest Thomas…Sidney Spike Lee (b. Shelton Jackson Lee on March 20, 1957, in Jean-Claude La Marre …Benjamin 2X Atlanta, Georgia) moved at a very young age from pre-civil O.L. -
Mckee Petition (00090444.DOCX;2)
1a APPENDIX 2a UNITED STATES COURT OF APPEALS FOR THE FIRST CIRCUIT ―――――――――――――――― No. 17-1256 KATHRINE MAE MCKEE, Plaintiff-Appellant, v. WILLIAM H. COSBY, JR., Defendant-Appellee. ―――――――――――――――― MANDATE Entered: December 28, 2017 In accordance with the judgment of October 18, 2017, and pursuant to Federal Rule of Appellate Procedure 41(a), this constitutes the formal mandate of this Court. By the Court: /s/ Margaret Carter, Clerk cc: John J. Egan Alan A. Greenberg Michael G. McDonough Robert L. Quinn Frederick William Salo 3a UNITED STATES COURT OF APPEALS FOR THE FIRST CIRCUIT ―――――――――――――――― No. 17-1256 KATHRINE MAE MCKEE, Plaintiff-Appellant, v. WILLIAM H. COSBY, JR., Defendant-Appellee. ―――――――――――――――― Before HOWARD, Chief Judge, TORRUELLA, LYNCH, THOMPSON, KAYATTA and BARRON, Circuit Judges. ―――――――――――――――― ORDER OF COURT Entered: December 20, 2017 The petition for rehearing having been denied by the panel of judges who decided the case, and the petition for rehearing en banc having been submitted to the active judges of this court and a majority of the judges not having voted that the case be heard en banc, it is ordered that the petition for rehearing and the petition for rehearing en banc be denied. 4a By the Court: /s/ Margaret Carter, Clerk cc: Frederick William Salo Robert L. Quinn John J. Egan Alan A. Greenberg Michael G. McDonough 5a UNITED STATES COURT OF APPEALS FOR THE FIRST CIRCUIT ―――――――――――――――― No. 17-1256 KATHRINE MAE MCKEE, Plaintiff-Appellant, v. WILLIAM H. COSBY, JR., Defendant-Appellee. ―――――――――――――――― JUDGMENT Entered: October 18, 2017 This cause came on to be heard on appeal from the United States District Court for the District of Massachusetts and was argued by counsel.