Source: Constance Bannister Corp / Getty These adorable cherubs will lift your spirits over the hump. She bad, and she know it. SHE IS SO PRECIOUS https://t.co/kdWXyQCDpG — Your OG (@LRNROSE) March 22, 2018 The young G’z from Stranger Things cashed in on their Netflix clout in their latest renegotiations. #StrangerThings teen actors will make 12 times more than their previous salary for Season 3 https://t.co/WlDppPWXOE pic.twitter.com/YAmwc34FhQ — Shadow and Act (@shadowandact) March 20, 2018 Genius. A real boss will keep it a stack in any situation. So how y’all day going? pic.twitter.com/XPhnjZ1n9d — T.Young (@TMY_GoldMine) March 21, 2018 Flip the page for more.
Source: Frederick M. Brown / Getty Chris Brown just announced that he’s headed on the road for the Heartbreak on a Full Moon Tour. The shows kick off June 19 in Seattle and will run through 27 cities,moving all around the country until wrapping up in the beginning of August. Named after his latest album, Breezy’s tour is supported by some dope artists, including 6lack , H.E.R. , and Rich the Kid throughout various dates. The singer/dancer/rapper’s 45-track album was recently certified platinum, so it’s no surprise that Brown will be taking those new songs on the road. TOUR!!! Excited to be heading out on the road for the Heartbreak On A Full Moon Tour with @HERMusicx @6LACK , and @richthekid ! Presales start 3/28 at 12pm local time. Get more info at https://t.co/YBSkEjenf0 pic.twitter.com/S5MDYDBoWb — Chris Brown (@chrisbrown) March 27, 2018 If you’re trying to see Breezy on tour, tickets go on sale March 30th at 10am. Check out all of the tour dates below to see if he’s hitting a city near you. June 19 – Seattle, WA – White River Amphitheater June 21 – Concord, CA – Concord Pavilion June 24 – Phoenix, AZ* – Ak-Chin Pavilion June 28 – Houston, TX – The Cynthia Woods Mitchell Pavilion presented by Huntsman June 29 – Austin, TX – Austin360 Amphitheater July 1 – Dallas, TX – Starplex Pavilion July 3 – Atlanta, GA – Cellairis Amphitheatre at Lakewood Thursday, July 5 – West Palm Beach, FL* – Coral Sky Amphitheatre Friday, July 6 – Tampa, FL*+ – MIDFLORIDA Credit Union Amphitheatre Saturday, July 7 – Pelham, AL* – Oak Mountain Amphitheatre July 9 – Charlotte, NC* – PNC Music Pavilion July 10 – Raleigh, NC*- Coastal Credit Union Music Park at Walnut Creek July 12- Bristow, VA* – Jiffy Lube Live July 13 – Virginia Beach, VA* – Veterans United Home Loans Amphitheater at Virginia Beach July 15- Newark, NJ^ – Prudential Center July 16 – Brooklyn, NY – Barclays Center July 18 – Camden, NJ – BB&T Pavilion July 19 – Boston, MA – Xfinity Center July 21 – Hartford, CT – XFINITY Theatre July 22 – Burgettstown, PA – KeyBank Pavilion July 24 – Cincinnati, OH – Riverbend Music Center July 25 – Detroit, MI – DTE Energy Music Theatre July 27 – Noblesville, IN – Ruoff Home Mortgage Music Center July 28 – Chicago, IL – Hollywood Casino Amphitheatre July 29 – St. Louis, MO – Hollywood Casino Amphitheatre August 1 – Albuquerque, NM – Isleta Amphitheater August 4 – Las Vegas, NV – T-Mobile Arena *without 6lack +without H.E.R. ^without Rich the Kid
So “Wakanda” music do you like? Hip hop? haha I'm Frank pic.twitter.com/pcEEAx1TVa — wolfy (@YungWolfGod) February 16, 2018 Hilariously Blackity Black Memes From #WakandaWeekend Black Panther is the biggest (and BLACKITY BLACKEST ) record-shattering blockbuster on Earth and the memes are absolutely hilarious . So hilarious, that we compiled ALLLLL the best (and funniest) of the bunch for your post-Wakanda weekend enjoyment. “Yes officer, they brought drums inside of the theatre” pic.twitter.com/mtzqYLuPE3 — AG (@iAarong) February 16, 2018 Peep the most hilariously Blackity Black memes from #WakandaWeekend on the flip.
A pril Ryan , an Urban Radio Network correspondent, did not receive an invitation for the annual White House Christmas party for the first time in two decades, which seems to confirm her claim that the White House distrusts Black reporters—especially one like her who is outspoken. SEE ALSO: April Ryan Dishes About Covering The White House If a reporter is “someone of a different race” (referring to herself) in the press room you are considered the opposition,” Ryan said, referring to her experience as a White House correspondent during the Trump administration, according to Real Clear Politics . April Ryan: I wasn't invited to White House Christmas party because “they have disdain for me” https://t.co/IXa181EAS8 pic.twitter.com/WSLQ3Gek4v — The Hill (@thehill) November 30, 2017 Ryan believes the snub was intentional, The Hill reported. “I think they don’t like me. For whatever reason, they have disdain for me,” she stated. For nearly a year, Ryan, like many other reporters, has battled the White House’s press secretaries, beginning with Sean Spicer and now with Sarah Huckabee Sanders , at press briefs. At those meetings, reports have often caught the press secretaries struggling to explain (or cover for) their boss’ lies and misdeeds. In her conversation with CNN host Don Lemon , Ryan said many reporters today are afraid to challenge Sanders—a clear departure from the long tradition of White House reporters demanding straight answers from the president’s spokesperson. The veteran journalist noted that some of her colleagues are friendly to the Trump administration because they were embedded with his campaign and other are Republicans. Those reporters who ask tough questions are viewed by the Trump administration as an opponent, and Black reporters are automatically “considered an opposition,” she said. The tension between Ryan and Trump first flared when the president asked her at a press brief to set up a meeting with the Congressional Black Caucus. That was in response to her question about whether he planned to meet with the Black lawmakers to discuss his campaign promise to revitalize urban centers. Trump asked Ryan: “Are they friends of yours?” SOURCE: Real Clear Politics , The Hill SEE ALSO: April Ryan Persisted After Nearly Quitting Over Sean Spicer’s Demeaning Remark WATCH: Trump Awkwardly Assumes April Ryan Is Friends With Congressional Black Caucus [ione_media_gallery src=”https://newsone.com” id=”3358541″ overlay=”true”]
Source: WIN-Initiative / Getty Atlanta is known as the melting pot of the south, but why is Atlanta a great place to live? Most people might say the food or Atlanta is the home of legendary groups like TLC, Xscape, and Outkast. Anybody under the age of 18 would probably say because Atlanta is the home to artist like Future or TI. If you ask a college student, they would say the HBCU’s or Birthday Bash every summer. Below is a list I compiled together of why my city is the greatest city in the south. Sign Up For Our Newsletter! Close Thank you for subscribing! Please be sure to open and click your first newsletter so we can confirm your subscription. Email Submit 1.waffle house on every corner _____ 2. Birthday Bash RELATED: How Much Weed Can I Have On Me Before I Get Arrested In Atlanta? 3. AUC homecoming week ______ 4. Land of opportunity ______ 5.The community RELATED: Marta Coming To Gwinnett And Fulton County…Kinda 6.Atlanta film festival ______ 7.Fox Theatre ______ 8. Great schools, from primrose academy to GA tech _____ 9. Home of Dragon Con ______ 10.Home of the Mercedes Benz Stadium ______ The Latest Music, Celebrities and Interviews: words by Ericc Adkins
(Jason Mitchell, director Dee Rees, Rob Morgan, Carey Mulligan, Mary J. Blige and Garrett Hedlund attend the ‘Mudbound’ Premiere on day 3 of the 2017 Sundance Film Festival at Eccles Center Theatre on January 21, 2017 in Park City, Utah. Source: Nicholas Hunt / Getty) Writer/director Dee Rees has been anything but predictable. She became a household name in 2011 with her first feature-length film Pariah , a gutting coming-of-age narrative about a young woman grappling with her sexuality. Then she turned around and took the small screen by storm with the triumphant story of iconic blues singer Bessie Smith in Bessie —which racked up more than one million viewers in its premiere. She even managed to helm a few documentary films and grace the director’s chair of the hit FOX series Empire in between projects. But even though her projects run the gamut, there is one recognizable theme that connects each of them, something we rarely see from other filmmakers. Rees boldly dismantles our most uncomfortable truths and interrogates why they remain hidden. Her latest drama, Mudbound , is no different. Set along an indistinct American South after World War II, the movie tells the story of a black family and a white family, whose disparate vantage points illuminate a racist society that has affected them both in deeply profound ways. They’re given equal agency and layers, and are written with the same level of compassion that seeps through each of the performances. So much so that the question is no longer about who is oppressed and who is the oppressor. It presents a more complex narrative that explores the effects of war across racial lines—through these two families whose steadfast hope is destroyed once they’re shown how little their world has changed when their loved ones return from battle and are unable to navigate the harsh realities they once could. The story opens with the McAllan family, Laura (Carey Mulligan) and Henry (Jason Clarke), a young couple who have recently arrived from Memphis with dreams of more land and a better life for his growing family. But as soon as they get there, with his spiteful father Pappy (Jonathan Banks) in tow, both husband and wife learn that they haven’t moved any further away from struggle. They have to get the house out of the clutches of the swindler they bought it from; their once promising land is actually infertile; and Laura is stuck in a house with a dutiful yet loveless man and his oppressive father. They can only anticipate that the return of Henry’s brother, Jamie (Garrett Hedlund), and the conclusion of the war, will help them realize a new reality for themselves. Just miles down the road is the Jackson family, headed by Florence and Hap (Mary J. Blige and Rob Morgan). They’re sharecroppers on the McAllan land who become the white family’s natural default for any extra support they need—for the land or otherwise. Florence takes care of the little McAllan kids when they get whopping cough. Hap has to help out with labor on the land. And their young boys are often beckoned for additional sets of hands. But they have their own aspirations to consider, keeping a happy home in the midst of racial hierarchal, buying their own property, and paving the way for their children to have a freer life than they have. Inversely from the McAllans, their struggle is dictated by everything and everyone around them, and their home is filled with joy and the security of love. So when their oldest son Ronsel (Jason Mitchell) goes off to fight in the war, they are comforted by the hope they’ve instilled in his heart, and that he’ll come back to a more possible future for himself. The core of the film is what happens when both men return home to a society that has remained remarkably stagnant, and try to navigate the overwhelming desire to be the face of change in a world that wants anything but. Rees, along with the heartbreaking performances of Hedlund and Mitchell, delivers a searing portrayal of post-traumatic stress in a society that failed (and still fails) to acknowledge. The sleepless nights, the alarming recognition that despite the lives they saw wasted on the battlefield—their own just merely escaping—they are still an N-word and a white drifter; a man who can’t even walk through the front door of an establishment without putting his life at risk and the other who tries to drink the memories of war out of his mind every day. Rarely in the black community do we see images of mental health, and even more rarely do we see it in male characters, who are more often portrayed like Hap—who’d rather walk around on a broken leg than have his wife take his place out in the field. It’s the film’s audacity to portray black male vulnerability especially in a historical context that admonished it which makes Mudbound that much more impactful. That and how director/co-writer Rees refuses to back down on present either family’s narrative as a deficit to the other—despite how easy it would have been to do so. Compelling, heartbreaking, and bold, Mudbound is an absolute must-see. DON’T MISS: ‘The Real’ Host Jeannie Mai Is Divorcing Her Husband Mississippi School To Swap Confederate Leader’s Name For Barack Obama’s Did Wendy Williams Fire Staff Who Leaked Cheating Rumors About Her Husband?
(Jason Mitchell, director Dee Rees, Rob Morgan, Carey Mulligan, Mary J. Blige and Garrett Hedlund attend the ‘Mudbound’ Premiere on day 3 of the 2017 Sundance Film Festival at Eccles Center Theatre on January 21, 2017 in Park City, Utah. Source: Nicholas Hunt / Getty) Writer/director Dee Rees has been anything but predictable. She became a household name in 2011 with her first feature-length film Pariah , a gutting coming-of-age narrative about a young woman grappling with her sexuality. Then she turned around and took the small screen by storm with the triumphant story of iconic blues singer Bessie Smith in Bessie —which racked up more than one million viewers in its premiere. She even managed to helm a few documentary films and grace the director’s chair of the hit FOX series Empire in between projects. But even though her projects run the gamut, there is one recognizable theme that connects each of them, something we rarely see from other filmmakers. Rees boldly dismantles our most uncomfortable truths and interrogates why they remain hidden. Her latest drama, Mudbound , is no different. Set along an indistinct American South after World War II, the movie tells the story of a black family and a white family, whose disparate vantage points illuminate a racist society that has affected them both in deeply profound ways. They’re given equal agency and layers, and are written with the same level of compassion that seeps through each of the performances. So much so that the question is no longer about who is oppressed and who is the oppressor. It presents a more complex narrative that explores the effects of war across racial lines—through these two families whose steadfast hope is destroyed once they’re shown how little their world has changed when their loved ones return from battle and are unable to navigate the harsh realities they once could. The story opens with the McAllan family, Laura (Carey Mulligan) and Henry (Jason Clarke), a young couple who have recently arrived from Memphis with dreams of more land and a better life for his growing family. But as soon as they get there, with his spiteful father Pappy (Jonathan Banks) in tow, both husband and wife learn that they haven’t moved any further away from struggle. They have to get the house out of the clutches of the swindler they bought it from; their once promising land is actually infertile; and Laura is stuck in a house with a dutiful yet loveless man and his oppressive father. They can only anticipate that the return of Henry’s brother, Jamie (Garrett Hedlund), and the conclusion of the war, will help them realize a new reality for themselves. Just miles down the road is the Jackson family, headed by Florence and Hap (Mary J. Blige and Rob Morgan). They’re sharecroppers on the McAllan land who become the white family’s natural default for any extra support they need—for the land or otherwise. Florence takes care of the little McAllan kids when they get whopping cough. Hap has to help out with labor on the land. And their young boys are often beckoned for additional sets of hands. But they have their own aspirations to consider, keeping a happy home in the midst of racial hierarchal, buying their own property, and paving the way for their children to have a freer life than they have. Inversely from the McAllans, their struggle is dictated by everything and everyone around them, and their home is filled with joy and the security of love. So when their oldest son Ronsel (Jason Mitchell) goes off to fight in the war, they are comforted by the hope they’ve instilled in his heart, and that he’ll come back to a more possible future for himself. The core of the film is what happens when both men return home to a society that has remained remarkably stagnant, and try to navigate the overwhelming desire to be the face of change in a world that wants anything but. Rees, along with the heartbreaking performances of Hedlund and Mitchell, delivers a searing portrayal of post-traumatic stress in a society that failed (and still fails) to acknowledge. The sleepless nights, the alarming recognition that despite the lives they saw wasted on the battlefield—their own just merely escaping—they are still an N-word and a white drifter; a man who can’t even walk through the front door of an establishment without putting his life at risk and the other who tries to drink the memories of war out of his mind every day. Rarely in the black community do we see images of mental health, and even more rarely do we see it in male characters, who are more often portrayed like Hap—who’d rather walk around on a broken leg than have his wife take his place out in the field. It’s the film’s audacity to portray black male vulnerability especially in a historical context that admonished it which makes Mudbound that much more impactful. That and how director/co-writer Rees refuses to back down on present either family’s narrative as a deficit to the other—despite how easy it would have been to do so. Compelling, heartbreaking, and bold, Mudbound is an absolute must-see. DON’T MISS: ‘The Real’ Host Jeannie Mai Is Divorcing Her Husband Mississippi School To Swap Confederate Leader’s Name For Barack Obama’s Did Wendy Williams Fire Staff Who Leaked Cheating Rumors About Her Husband?
When Gotta Go… Fuck Her Right in the Pussy Lives.. Tranny Naked…. Dog Shits on a Wall Model Bouncing Tits… Dude Get Taken Out Bull… Man Catches Bank on Fire Bank Robbery Chinese Man Eats Glass.. The post Woman Performs Head in Theatre and Other Videos of the Day appeared first on DrunkenStepFather.com .
Sevyn Streeter, Ray J, K. Michelle, Boosie Badazz And More Starring In Hip Hop Musical This sounds like quite the production … There’s a new hip-hop musical called Thugs And The Women Who Love “Em,” scheduled to tour nationall this Fall. The musical was inspired by New York Times bestselling author Wahida Clark’s 2005 book “Thugs and The Women Who Love Them.” The cast is chock full of notables including Ray J, K. Michelle, Sevyn Streeter, Jamal Woolard, Boosie Badazz, Lyfe Jennings and Karlie Redd and will debut in Oakland, California on October 3rd. “Thugs and The Women Who Love ‘Em” is produced by veteran theater producer Melvin Childs of Produced By Faith and directed by Zadia Ife. The music featured in the stage play will be existing songs from each artist. “I’m truly excited about the opportunity to bring something I think is new and innovative to black theatre across the country,” said Melvin Childs. “I think it’s time the hip hop/R&B community of today had a chance to tell their stories as they see it to a supportive audience.” “Thugs and the Women Who Love ‘Em” features four different perspectives from four extraordinary women who’ve built a sisterhood through some very difficult times. Now, one by one, each of them will be asked to choose between the men they love and the life they want. Are they really four strong, independent, black women ready to write their own story and be the stars of their own lives? Or are they destined forever to be nothing more than co-stars in somebody else’s script…nothing more than Thugs and the Women Who Love Them. Will you be buying tickets??? “THUGS AND THE WOMEN WHO LOVE ‘EM” TOUR DATES: LOCATION: DATE: THEATER: Oakland, CA October 3 & 5 Paramount Theatre Sacramento, CA October 6 Convention Center Los Angeles, CA October 7& 8 Dolby Theatre Atlanta, GA October 14-15 Fox Theatre Detroit, MI October 21-22 Fox Theatre Dallas, TX October 27-29 Dallas Music Hall Houston, TX November 4-5 Smart Financial Centre Chicago, IL November 10-12 Arie Crown Theatre New York, NY November 17-19 Kings Theatre Philadelphia, PA November 22 Liacouras Center Baltimore, MD November 24-26 Lyric Opera House Follow “Thugs and the Women Who Love ‘Em” on social media using the hashtag #ThugLove and by following the musical on Twitter, and Instagram @InLuvWithAThug and Facebook at https://www.facebook.com/Melvin-Childs-Presents-132042424072364/. For more information about Thugs and the Women Who Love ‘Em, go to www.melvinchildspresents.com.
