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In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
In Hollywood, we hear, it’s all about the money. It’s a ready explanation for why so few black films get made—no crossover appeal, no promise of a big payoff. But what if the money itself is color-coded? What if the economics that governs film production is so skewed that no film by, about, or for people of color will ever look like a worthy investment unless it follows specific racial or gender patterns? This, Monica Ndounou shows us, is precisely the case. In a work as revealing about the culture of filmmaking as it is about the distorted economics of African American film, Ndounou clearly traces the insidious connections between history, content, and cash in black films. How does history come into it? Hollywood’s reliance on past performance as a measure of potential success virtually guarantees that historically underrepresented, underfunded, and undersold African American films devalue the future prospects of black films. So the cycle continues as it has for nearly a century. Behind the scenes, the numbers are far from neutral. Analyzing the onscreen narratives and off-screen circumstances behind nearly two thousand films featuring African Americans in leading and supporting roles, including such recent productions as Bamboozled, Beloved, and Tyler Perry’s Diary of a Mad Black Woman, Ndounou exposes the cultural and racial constraints that limit not just the production but also the expression and creative freedom of black films. Her wide-ranging analysis reaches into questions of literature, language, speech and dialect, film images and narrative, acting, theater and film business practices, production history and financing, and organizational history. By uncovering the ideology behind profit-driven industry practices that reshape narratives by, about, and for people of color, this provocative work brings to light existing limitations—and possibilities for reworking stories and business practices in theater, literature, and film.
From Naptown to Tinseltown—legendary stand-up comedian and actor Mike Epps finally tells all in this outrageous, hilarious, no-holds-barred memoir. Before starring in Def Comedy Jam and Showtime at the Apollo—before the sold-out comedy shows, Uncle Buck, and becoming his hero Richard Pryor in a biopic—there was Indianapolis. And not the good part. Mike Epps is one of America’s favorite and funniest people, but the path to fame was paved with opportunities to mess it up. And mess it up he did. Growing up in “Naptown”—what people who live there really call rough-around-the-edges Indianapolis—Epps found himself forced to hustle from an early age. Despite his mother’s best efforts, and the love of his well-behaved brother, “Chaney,” and his beloved sister, Julie, Epps was drawn to a life of crime, but as he quickly discovered, stealing and dealing didn’t really fit his sweet sensibilities. Not to mention he wasn’t very good at it—take, for example, the day he had to call the cops on himself when a dog wouldn’t let him leave a house he was burgling. After several arrests and more than a few months in jail, Epps finally realized that he was an unsuccessful thug, and instead turned to the next most obvious career path: stand-up comedy. Heading first to New York, then all over the country, and finally to Hollywood, Mike Epps carved out a unique place in American comedy, combining hysterical tales of his family and friends with a mordant take on life in the Naptowns of America. Comedy saved Mike Epps, and here he reveals exactly how he finally grew up and got out, barely. And when describing how he survived when so many of his friends didn’t, Epps makes clear what he’s thankful for and sorry about. Unsuccessful Thug is about growing up black in America, facing down racism in Hollywood, and ultimately how it feels to fail at thugdom, pull yourself up by the bootstraps, and end up selling out arenas and starring in movies across the country.
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
Across the academy, scholars are debating the question of what bearing scientific inquiry has upon the humanities. The latest addition to the AFI Film Readers series, Cognitive Media Theory takes up this question in the context of film and media studies. This collection of essays by internationally recognized researchers in film and media studies, psychology, and philosophy offers film and media scholars and advanced students an introduction to contemporary cognitive media theory—an approach to the study of diverse media forms and content that draws upon both the methods and explanations of the sciences and the humanities. Exploring topics that range from color perception to the moral appraisal of characters to our interactive engagement with videogames, Cognitive Media Theory showcases the richness and diversity of cognitivist research. This volume will be of interest not only to students and scholars of film and media, but to anyone interested in the possibility of a productive relationship between the sciences and humanities.
(Applause Books). Black Comedians on Black Comedy is the only up-to-date book to examine African-American humor. Comedian Darryl Littleton traces the history and evolution of "black comedy" in his narrative and through the 125 interviews he conducted with some of the top African-American comedians in the world. Those interviewed include Dick Gregory, Sinbad, Eddie Murphy, Mike Epps, Cedric the Entertainer, Nick Cannon, Bernie Mac, Eddie Griffin, Damon Wayans, Arsenio Hall, Chris Rock, Marla Gibbs, Robert Townsend, and John Witherspoon.
Having grown up without his biological father, then becoming a father himself, Epps shares an intimate, unapologetic, and emotional conversation about childhood, manhood, and parenting. Chronicling his journey from humble beginnings in Brooklyn, New York, to the bright lights of Hollywood, Epps touches on many themes surrounding the importance of family and community. He shows how men can break the cycle of fatherlessness within their families, and come to terms with their own issues surrounding their fathers. -- adapted from back cover
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.