Rapper Scarface Running for Houston City Council Seat

Rapper Scarface Running for Houston City Council Seat

Rapper Scarface, best known as a member of Geto Boys, is running for a Houston City Council seat. Scarface, 48, whose real name is Brad Jordan, announced his candidacy over the weekend on Instagram Saturday, saying, “I’m offering myself for service as the next Houston City Council member for District D.”

Jordan grew up in Houston and gained fame in the late 1980s with the Geto Boys before launching a successful solo career. The announcement follows news that Bushwick Bill, fellow Geto Boys member, died of pancreatic cancer.

Original article was published here.

Denzel Washington Feted With Lifetime Achievement Award by American Film Institute

Denzel Washington Feted With Lifetime Achievement Award by American Film Institute

Denzel Washington was recognized with the American Film Insititute (AFI) Lifetime Achievement Award in Hollywood last night. Spike Lee presented the star with the award at the AFI gala, which was attended by a host of stars including Julia Roberts, Jamie Foxx, Jodie Foster, Cicely Tyson, Mahershala Ali and surprise guest Beyonce. Jennifer Hudson was also in attendance and performed Sam Cooke’s “A Change Is Gonna Come.”

Washington joins stars including Morgan Freeman, Meryl Streep, George Clooney and Steven Speilberg honored by AFI with this award.

Washington’s cinematic legacy includes powerhouse, Academy Award®-winning performances in Glory (1989) and Training Day (2001), as well as celebrated roles in Cry Freedom (1987), Malcolm X (1992), The Hurricane (1999), Flight (2012) and Roman J. Israel, Esq. (2017), for which he earned award nominations. Washington has crafted compelling, unforgettable characters in recurring collaborations with master directors past and present, bringing stalwart grit and nuanced complexity to films essential to the American canon, such as Jonathan Demme’s Philadelphia (1993), Spike Lee’s Inside Man (2006) and Ridley Scott’s American Gangster (2007) in addition to blockbuster, crowd-pleasing fare such as Edward Zwick’s (AFI Class of 1975) Crimson Tide (1995), Tony Scott’s Man on Fire (2004) and Antoine Fuqua’s The Magnificent Seven (2016). Washington, a creative force behind the camera as well,has helmed critically acclaimed films Antwone Fisher (2002) and The Great Debater (2007), in which he also stars. He won a 2010 Tony Award® for his performance in the play Fences, and directed, produced and starred in the 2016 film adaptation that earned him Best Actor and Best Picture Oscar® nominations.

Original article was published here.

Stephen A. Smith Calls Out ESPN Over Article Disparaging Magic Johnson

Stephen A. Smith Calls Out ESPN Over Article Disparaging Magic Johnson

ESPN’s Stephen A. Smith called out his own network over an article disparaging NBA legend Magic Johnson.

The First Take co-host took to his radio show to vent over the awkward position ESPN.com placed him in by releasing an article detailing former Los Angeles Lakers employees’ displeasure working under Johnson on the same day he and the former college and pro basketball superstar were set to work together on an NBA Finals special. 

“I am forced to address yet the latest story about the dysfunctional franchise known as the Los Angeles Lakers… I got better things to do with my damn time—better things to do,” Smith barked at the camera. 

“I wake up this morning, minding my own damn business, getting set to do my job and talk about these NBA Finals. … But obviously, I’d have to take a moment because ESPN.com decides to come out with a story on the day that Magic and the crew will be here.”

Smith went on to sarcastically plug the story while criticizing its premise that Johnson was too tough on employees as the team’s president of basketball operations. 

“Supposedly, people had anxiety—I mean, stop the presses!” Smith shouted. “Magic Johnson was tyrannical as a boss, that’s basically the picture they’re trying to paint. … Magic Johnson might have been a bit hard-core as a businessman. Stop the presses!” 

He continued, “He had an attitude? He wasn’t pleasant to work for? That smile wasn’t always there? He was demanding and wouldn’t tolerate mistakes? OH MY GOD! LET’S GET THE AXE!” 

The sports anchor praised the article’s author for spending time on the well-written piece but continued to question its timing. 

“A story comes out. Baxter Holmes—reporter, senior writer on the NBA for ESPN, by the way—does an outstanding job and did an outstanding job with this story. There’s nothing missing here. But he wrote this big exposé, working on it for two years. And there’s a lot to deduce from it because we don’t want to take away from his work. He did his job. Do I like the fact that I have to deal with it today? Hell no. I’m quite annoyed by it. That’s neither here nor there. I’m a big boy. I can take it.”

Fortunately, the show went off without a hitch, and Johnson tweeted that he had a great time with Smith and the ESPN family.

Johnson also addressed claims that he essentially bullied and intimidated Lakers staff, saying he would have been called out and reported to human resources if those accusations were accurate.

Original article was published here.

Quincy Jones Celebrates the Sound and Soul of Black Power with the Broad Museum’s ‘Soul of a Nation Celebration’

Quincy Jones Celebrates the Sound and Soul of Black Power with the Broad Museum’s ‘Soul of a Nation Celebration’

Throughout the course of American history, black folks have relied on artistic expression to both anesthetize our pain and serve as a creative conduit.

The Broad Museum’s groundbreaking exhibit Soul of a Nation: Art in the Age of Black Power 1963-1983 focuses on the awe-inspiring contributions that Black artists made between the apex of the Civil Rights Movement and 1983—the year Martin Luther King Jr. was finally honored with a national holiday.

And because there is no better embodiment of black excellence or artistry, on Friday night, the legendary Quincy Jones curated an evening of music and magic as hundreds gathered at The Broad Museum in Los Angeles to bask in the beauty of black power. 

The evening kicked off with an introduction from the Grammy Award-winning producer and composer himself before marketing genius extraordinaire Bozoma Saint John took her rightful place, commanding the stage as the evening’s emcee.

As drinks began to pour, L.A.’s own Terrace Martin—the heir apparent to Jones’ melodic throne—opened his soothing set with a bit of Herbie Hancock, before segueing into his own lush jazz arrangements. One of Martin’s irrefutable strengths is his profound ability to bring the best out of burgeoning artists. To that end, after showcasing his own catalog, he and his band provided the soundscapes for a number of subsequent crooners throughout the course of the night. 

First up was Cincinnati import Arin Ray, who dazzled the crowd with his soul-stirring vocals before songstress Eryn Allen Kane seized the stage and did the damn thang herself. It was rising star Alex Isley—yes, that Isley, as her father Ernie is one of the iconic Isley Brothers—who stole the show and left the audience mesmerized with her atmospheric “Into Orbit,” in which she pleads to be propelled to the moon and stars under the intoxicating stewardship of love. 

While other artists such as Cory Henry eventually ignited the stage with spirited forays into funk and gospel, the night wasn’t just about the music—it was also about the message. Specifically, that of black power and its various unyielding and unrepentant manifestations.

“We’re living in a pivotal time, and Soul of a Nation is a reminder that it is time to either fight or unite, and I’m telling you right now, the only answer is to unite!” Jones told The Root. 

To that end, the Soul of a Nation exhibit inside the museum serves as a sanctuary for black pride and self-expression. With contributions from more than 60 influential artists—including the likes of Romare Bearden, Barkley Hendricks and Charles White—the two-story exhibit features abstract paintings, murals, brilliant photography, sculptures, and other more to encapsulate both our plight and our triumphs as the unheralded artisans of America. It’s a brilliant collection of style and social justice that will empower the meek and awaken the soul.

One of my favorite paintings at the exhibit was Barkley Hendricks’ “Icon for My Superman (Superman Never Saved any Black People—Bobby Seale).” Casual eyes might mistake it for merely a clever depiction of a streetwise-Superman, when in actuality its a call to arms for black people to honor ourselves instead of waiting for permission from the dominant culture—something countless artists, writers, musicians and creatives are currently doing as we embark on a new-age Black Renaissance.

“Here we find the Black artist as the superhero,” the explanation of the painting reads. “Painting himself into history rather than waiting for someone else to confer the honor upon him.”

In all, with its stellar intention and curation, it was an unforgettable evening that provided a fitting tribute to both our creativity and resiliency as a people—which I would expect nothing less from a maestro as revered Quincy Jones.

“It’s an absolute honor to be involved in the musical component of The Broad Museum’s Soul of a Nation: Art in the Age of Black Power exhibition because you’ve got to know where you come from, in order to get where you want to go,” Jones told The Root. “Without that knowledge, we are in danger of repeating history— and I don’t mean the good parts.”

“Soul of a Nation: Art in the Age of Black Power 1963-1983″ will be presented at The Broad Museum in Los Angeles, Calif., until Sept. 1.

Original article was published here.

The Supreme Court’s Latest Ruling Makes It Easier for Cops to Arrest Black Lives Matter Protesters

The Supreme Court’s Latest Ruling Makes It Easier for Cops to Arrest Black Lives Matter Protesters

It was a ruling that failed to register widely in terms of national news, but could have potentially devastating effects for protesters around the country—and anyone tasked with keeping police officers accountable.

On May 28, the Supreme Court made it more difficult for people who say they were arrested for exercising their free speech rights to bring lawsuits against the officers who arrested them. This could include behaviors like throwing insults or refusing to talk to officers, or protesting and filming the police.

In Nieves v. Bartlett, the high court delivered a split decision, finding that a police officer need only prove probable cause for an arrest to keep a lawsuit from moving forward. The majority opinion was written by Chief Justice John Roberts, with Justices Ruth Bader Ginsburg, Neil Gorsuch (yes, I typed that right and you read that right), and Sonia Sotomayor each penning dissenting opinions, the Washington Post reports.

The ruling, centered on a case where an Alaska man sued a police officer for what he claimed was a retaliatory arrest, was founded on concerns that police at certain events “like an unruly protest” could be exposed to “overwhelming litigation risks,” according to Roberts.

“Any inartful turn of phrase or perceived slight during a legitimate arrest could land an officer in years of litigation,” he added.

But the decision did try to create a carve-out for thinly veiled arrests for either ludicrously common or little-known infractions.

“For example, at many intersections, jaywalking is endemic but rarely results in arrest,” Roberts wrote. “If an individual who has been vocally complaining about police conduct is arrested for jaywalking at such an intersection, it would seem insufficiently protective of First Amendment rights to dismiss the individual’s retaliatory arrest claim on the ground that there was undoubted probable cause for the arrest.”

Even with the carve-out, some First Amendment advocates are calling the decision a blow to free speech rights, especially in the face of expanding state authority. The decision is likely to have a disproportionate impact on two groups most likely to check government officials that have exceeded the bounds of their power: protesters and the press. 

In a statement sent to The Root, Esha Bhandari, staff attorney with the ACLU Speech, Privacy, and Technology Project, wrote that the high court’s decision “disappointingly imposes additional hurdles on people seeking to vindicate their First Amendment rights.”

“The ability to bring retaliatory arrest claims is critical for the public to hold police accountable and ensure that police don’t selectively enforce the laws against people they disagree with, including those who criticize them,” Bhandari continued. “This is a particularly necessary protection for protestors, who are often arrested under vague laws that may not be applied equally.”

Garrett Epps, professor of constitutional law at the University of Baltimore, in a recent analysis of the decision for the Atlantic, questioned if “the real purpose of the Roberts rule is to provide all but complete immunity to police.”

He explained the way the ruling would affect potential lawsuits against officers this way:

[If] you cheese off an officer by bad-mouthing the mayor (or the cop), you can be arrested if there is probable cause you did something wrong. And you can’t sue for “retaliatory arrest” unless either the arrest is for an offense such as “spitting on the sidewalk” or “affray,” which police virtually never use, or a hundred people are doing the same thing and only the ones engaged in protected speech were arrested. The burden will be on you to prove that the charge is rare—or that others were doing exactly the same thing at the same place and time and weren’t arrested. (I suspect that many courts will require proof that it really was exactly the same thing.)

After that, you have the burden to show that the “expressive activity” (speech, picketing, carrying a sign, etc.) was the real cause of the arrest. The “causation” element is hard, since you have to prove the officer’s state of mind. Officers sometimes tell you their motivation, in remarks such as “You can’t talk that way about our military.” But (surprise!) it turns out those won’t help you, because Roberts has modified his rule thus: “Because this inquiry is objective, the statements and motivations of the arresting officer are ‘irrelevant.’” Some other evidence is needed, or the case will be dismissed before trial.

While Roberts himself used “jaywalking” as an example of a trumped-up, potentially retaliatory charge, Garrett notes that police don’t often have to dig up obscure charges to justify an arrest. “Disturbing the peace” or “failure to obey a lawful order” often more than suffices.

If you’re a Black Lives Matter protester—or anyone who might, someday, need to film the police to hold them accountable—this latest ruling should be chilling. In 2017, St. Louis police arrested 307 people in less than three weeks; lawyers, religious clergy and members of the community were arrested for “trespassing” in their protests against a white police officer who was acquitted after killing a black man. And last year, in Georgia, police used a little-known anti-KKK law to arrest more counter-protesters at a Neo-Nazi rally than actual white supremacists.

“The power to arrest is a potent tool for suppressing speech because even if charges are later dropped, arrestees must undergo the ordeal—and dangers—of being booked and jailed, and they may have to disclose the arrest on future job and housing applications, among other ramifications,” Slate observed.

In his dissenting opinion, Justice Gorsuch captured the broader implications—and present-day context—for the Supremes’ latest decision (yes, I’m quoting Neil Gorsuch on something—what a time to be alive!):

“In our own time and place, criminal laws have grown so exuberantly and come to cover so much previously innocent conduct that almost anyone can be arrested for something,” wrote Gorsuch. “If the state could use those laws not for their intended purposes but to silence those who voice unpopular ideas, little would be left of our First Amendment liberties, and little would separate us from the tyrannies of the past or the malignant fiefdoms of our own age.”

Original article was published here.

Jay-Z is the first billionaire rapper, says Forbes

Jay-Z is the first billionaire rapper, says Forbes

Artist, Icon, Billionaire: How Jay-Z Created His $1 Billion Fortune

Jay-Z has accumulated a fortune that conservatively totals $1 billion, making him one of only a handful of entertainers to become a billionaire—and the first hip-hop artist to do so. Jay-Z’s steadily growing kingdom is expansive, encompassing liquor, art, real estate (homes in Los Angeles, the Hamptons, Tribeca) and stakes in companies like Uber.

What’s Jay-Z Worth?

To calculate his net worth, we looked at the artist’s stakes in companies like Armand de Brignac champagne, applying our customary discount to private firms. (He owns 100% of Armand de Brignac and has partial ownership of the other companies.) Then added up his income, subtracting a healthy amount to account for a superstar lifestyle. We checked our numbers with a roster of outside experts to ensure these estimates were fair and conservative. Turns out, Jay-Z really is a business, man.

Armand de Brignac

$310 million

Jay-Z has used his music to shill the $300 gold bottles of the “Ace of Spades” champagne since launching the brand with the 2006 video “Show Me What You Got.” More recently, his verse on Meek Mill’s “What’s Free” put a half-billion-dollar value on the wine, which seems like a bit too bubbly a number.

Cash & investments

$100 million

Jay-Z’s cognac, a joint venture with beverage giant Bacardi, moves almost 200,000 cases and has grown nearly 80% annually. “Jay-Z resonates with consumers who are attracted to the ultra-premium lifestyle,” says Eric Schmidt, Beverage Marketing Corp.’s Director of Alcohol Research.

Tidal

$100 million

In 2015, Jay-Z submitted a bid to purchase the Scandinavian streaming service’s parent company for just shy of $60 million. He relaunched Tidal later that year with a roster of celebrity investors including his wife, Beyoncé, and other music luminaries, from Kanye West to Calvin Harris.

Roc Nation

$75 million

This wide-ranging entertainment company started over a decade ago as part of a joint venture with concert giant Live Nation. Roc Nation represents some of the top stars in the entertainment through its sports agency (Kevin Durant, Todd Gurley) as well as its record label and artist-management arms (Rihanna, J. Cole).

Music catalog

$75 million

Before the beginning of his stint as Def Jam’s chief in 2004, Jay-Z negotiatedthe eventual return of his master recordings from the aforementioned label that helped launch his career; in a separate deal with EMI, he clawed back his publishing rights. Wise move: his hits now clock close to 1 billion streams annually.

Art collection

$70 million

In the song “Picasso Baby,” Jay-Z boasted about a “Basquiat in my kitchen corner.” He probably wasn’t kidding. For over a decade, he’s been scooping up masterpieces like Basquiat’s “Mecca,” purchased in 2013 for a reported $4.5 million. “He’s rapped about it all in detail,” says Fab 5 Freddy, a contemporary and friend of the late painter. “Jay-Z helped educate millions of hip-hop fans mentioning Jean-Michel.”

Real estate

$50 million

After welcoming twins in 2017, Jay-Z and Beyoncé bought a pair of homes to match: a $26 million East Hampton mansion and a $88 million Bel Air estate. Jay-Z also owns a Tribeca penthouse, snagged for $6.85 million in 2004.

Original article was published here.