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35 Search Results for "Entertainment"

• Beautiful Weddings That Stay i Beautiful Weddings That Stay in Memory Forever

  • From: than4life
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    7. On Thanksgiving 2010 we got engaged, hoping to have a May wedding 2010. Long before the big day, I started to get planning and shopping. I wanted the whole event to go as smoothly as possible. During the week of Christmas hermes women I went into Soobest in Greenwood in the hope of picking out my dream wedding dress with Shane with me to help along the efforts. There were so many selections and each of them seemed fine and flattering. Just when I was all dazzled and confused, Shane found that simple and elegant one which not only flattered my figure so much but also brought something out of me that I’d never realized I have. The second I stood in front of the mirror, I knew that was the right one. That dress accompanied me through that special day. The maid of honor and matron of honor dresses are from David’s as well. They both picked the colors of their desire thanks to the possibility of shopping by specific color. They were lovely and amazing for the wedding. The big wedding day turned out fine with all of my visions realized. Now as I look back on the occasion, I know all of this replica hermes couldn’t come true without the assistance of Soobest.
    
    8. James and Kelley have been together since high school. From their first kiss to the final engagement, they’d been through so much. Now with their enduring love for each other, they wanted to have a perfect wedding without the cost of an average American wedding: 27,500 dollars! They believed they could make it! As a start Kelly’s wedding dress from David’s Bridal saved her a lot of money. The replica hermes staff there helped her look for that perfect gown for Kelly’s taste and budget! Kelly didn’t want to look back on her wedding with a hint of regret. Since the theme of the wedding was pink, so Kelly wanted her dress to be pink to go with the wedding. The seamstress from David's Bridal made a cute pink sash for her dress which made the whole picture ever more surreal and wonderful. She looked like a princess walking out of the fairy tale. The bridesmaids’ dresses are also from David’s Bridal with preferable prices and all in pink of course! Finally came the big day, the wedding day, for which the church was set up with all those homegrown flower pots decorating the scene and with the fragrance flowing all around. The most exciting moment was the one when the bride and the groom exchanged personalized wedding vows in front of the wedding guests. That moment was the testament to all those years’ supporting and standing by each other. The reception was an all-night-long dancing party with everybody dancing and laughing. All they could hear was people tapping on the dancing floor and chatting to one another. The bride offered her replica Hermes watches entertainment as she sang her favorite song with a microphone to the guests, which led to a wave of wows and applause. What followed was a drink of water from a water pitcher sitting on a nearby table! It was a night no one could forget. The entire night the reception room was flowing with laughter, joy and happiness and all of this was at half the cost most American couples spend!

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• malestripteseac

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• Superior Position of Switzerla Superior Position of Switzerland Watch Business

  • From: luciferbindan737
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    Inside replica hd3 complication watches kingdom of the world, nobody would ignore the trendy timepiece brands from Switzerland. This type of watches could possibly share the same point for expensive price and elaborate handicraft. However, the timepiece business would not be the native one originating from this kind of land. So how the timepiece making would gain the leading or even monotonous position inside the world market today?

    At the end of 16th century, French timepiece makers came to Switzerland with the craft to integrate the business of local gold and silver jewelry business. Gradually the timepiece making business was formed. At the first of all stage, the making is on a basis of purified hand-making. In 1845, the mechanism was applied to the business, since then it had become a modern business. Switzerland timepiece making would pay attention on the innovation and research on most recent technology. In order to compete with the fierce competition inside the world market, they found the electronic timepiece making center and research institution for R&D, which ensure a great amount of innovation for the world. For instance, the first of all quartz timepiece of the world in 1967, the earliest LCD digital display technology, the thinnest timepiece by the thickness of 1mm, and the body temperature battery for timepiece, etc.

    Inside high-level timepiece area, Switzerland timepiece making business even dedicates to the special purpose and meaning for the tailor-made research on luxurious and distinctive timepiece. Just like the one for American buyer with the carving of Statue of Liberty, the moon symbolic representation for the giant wealth of Arabic world.

    Meanwhile, Switzerland replica watches would be with the impressive and sound marketing strategy to illustrate the outstanding disposition of timepiece and the excellent to be best, extreme and successful. Take OMEGA for example, it insists on the spirit of brave innovation and the obedience for traditional beauty at the same time. With the purpose of being outstanding and transferring the sense of success, it has invited lots of widely known people from sportsmen to entertainment pop stars seeing as the representative of the brand. This type of kind of professional advertisement would be also the vial means for Switzerland timepiece business to take a lead for fashion world.

    Please visit my personal blog gucci4sale.com for more information.

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• Popular Folks Like Watches of Popular Folks Like Watches of Popular Brands

  • From: allen14andinscut
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    Following the particular birth of replica watches of famous brands, it bounds to have closely contact with famous persons. Famous timepieces like Patek philippe, Vacheron Constantin, Cartier, Rolex, IWC and so on, which depend on their distinct producing process, model and lengthy history, turn out to be the particular finest choose for famous persons. Furthermore,you will discover still several other reasons that why famous persons like timepieces of famous brands.

    First, for the particular public, a famous persons, they are not just stand for themselves, sometimes, as an example, politicians of a nation also represent their very own nation. Or wonderful athletes, stars inside the entertainment industry, we hope that they present their finest aspect and lead to a healthy and stylish life model. For that reason timepieces of famous brands will satisfy the particular famous people’s wonderful need.

    Second, for famous persons themselves, what kind of enjoy they wear will present their status, power and their very own distinct characteristic. Above all, they've sufficient dollars to buy what is fit for them. And just like what we mention that famous persons like to present their very own distinct characteristic. From the particular media, we can see that replica yachtmaster watches of famous brands have certain common characteristic which are not just simple however also noble. And they also have high good quality and stylish model. All that makes the particular famous have a various good quality, elegant, smart, captivating and so on.

    From what we mention we can briefly know why the particular famous persons like timepieces of famous brands and you will discover still several other reasons that leave for you to find out..

    Please visit my personal blog gahousewatch.com for more information.

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• philadelphiabride

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• Distinguish Real Hermes Totes Distinguish Real Hermes Totes From Sham

  • From: jingle5050
  • Description:

    At present the view has come to be a mark for great taste plus the status, and it could give really successful people far more charms in day-to-day life and under the focus lamps, and really successful people also come to be the living advertisements of all those famous replica watches, making the cold mechanic products have fresh and spirit.

    Within the fact, the famous view has been connected with really successful people in earlier time, and at that time most of really successful people were royal members, and we could discover the traces from the branded stories of all famous wrist wristwatches. In 1851, the English Queen Victoria has purchased an enamel golden mido timepieces replicas from Patek, and it was very precious with a rose made of diamonds on the lid and an 18K golden pin with thirteen diamonds on the rotary handle, and maybe it was the earliest record on the relationship between really successful people and famous timepieces.

    With the development of the commercial society, far more and far more really successful people prefer to wear famous timepieces, and all these branded timepieces also prefer to choose all these really successful people to be their spokesmen, and then really successful people and famous timepieces will win-win.

    The particular combination of really successful people and famous timepieces is mutually beneficial and helpful. As for the brand, once it is connected with really successful people, it will come to be the topics of all Medias, attracting all those buyers who are enthusiasts of all those really successful people to buy the view. As for really successful people, a famous view could also increase their tastes and statuses at the same time, and they could come to be far more fascinating and far more attractive, thus, they are willing to be the spokesmen of prevalent timepieces and to wear famous watches.

    Additionally, apart from entertainment and activities stars, all those stars in other professional areas could win the love of the brands this type of as stars in diving, sailing areas and so on.

    So, it is very normal for celebrities to wear famous watches, because it is mutually beneficial for them and famous watches, and they are willing to make use of the other to increase their popularities.

    Please visit my personal blog bestrolexreplicas.com for more information.

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• Tips on how to Purchase Fine W Tips on how to Purchase Fine Wrisrwatches at Reduced Prices

  • From: luciferbindan728
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    When acquiring, the consumers often seek a option obtain. And this could possibly be the golden principle in transaction. The following I am going to review 3 methods to help you to acquire rolex replica watch in top good high quality at reduced prices.

    Considered as is identified to all , Hong Kong is an international free trade zone and enjoys duty-free treatment. Tax-free wristwatches could possibly be bought the following. Only 1 factor to be noted, you can’t obtain much more than two wristwatches the following, or you have to pay tax for the additional types. So in Hong Kong, it is not suitable for high-volume acquiring. Although inside the case which you plan to acquire a observe as being a present for your beloved types, Hong Kong—the recognized duty-free shopping paradise must be your ideal option.

    In recent years, with the South Korean fad in entertainment business, apart from the crazy pursuit with the Korea star, the South Korea’s tourism is flourishing with every passing day. Like a result, the duty-free stores you will find becoming the very first of all option of most men and women who love wristwatches. The following I need to review the Shilla duty-free shop in Chejudo to all of you in particular. The shop covers a wide vary, including Dior, Buberry, LV, Gucci, Prada and yet no Channel.

    What could possibly be the most popular shopping pattern in our modern society? The on the web shopping--I will blur out with no any hesitation. So should you take into account it is as well time-consuming and high priced to acquire a Roger Dubuis replica watches in Hong Kong or South Korea, then Taobao will be the ideal place for you. All you have to do is a few clicks to take your favorite wristwatches into your pocket. Considered as the saying goes, advantages often go with shortcomings. The same goes to the acquiring on the internet, though convenient, the wristwatches in Taobao are flooded with counterfeits, the wish to select wristwatches in good good high quality at a reduced price is plated difficulties. Hence, several advices must be followed:

    1. The reputation with the shop must be above four drills at ideal and also the favourable comments ratings cannot be lower than 99%;

    2. Looking through the evaluation with the buyers who have bought the same wristwatches, and never obtain 1 as long as you can find a bad comment;

    3. Do never obtain if the seller do not guarantee the observe with one-year useful life, and do not invest in if the maintenance isn't provided;

    4. You’d better obtain wristwatches inside the entity shops. For generally,the entity shop (better to be exclusive agency) has to undergo most department’s supervisions, the probability of replica goods is reduced.Once exposed, the legal responsibility will be investigated in serious circumstances.

    Please visit my personal blog handbagsview.com for more information.

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• GabrielReyes

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• Amos 'n Andy: Spencer Williams Amos 'n Andy: Spencer Williams Jr

  • From: GeniusInMotion
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    Spencer Williams (July 14, 1893 – December 13, 1969) was an African American actor and filmmaker. He was best known for playing Andy in the Amos 'n Andy television show and for the directing the 1941 race film The Blood of Jesus.  Williams (who was sometimes billed as Spencer Williams Jr.) was born in Vidalia, Louisiana. He moved to New York City when he was a teenager and secured work as call-boy for the theatrical impresario Oscar Hammerstein. During this period, he received mentoring as a comedian from the African American vaudeville star Bert Williams. Williams served in the U.S. Army during World War I, where he rose to the rank of sergeant.  During the 1920s, he began to snag bit roles in motion pictures, including a part in the 1928 Buster Keaton film Steamboat Bill, Jr. He teamed with Lonnie Jackson to record the song "It Feels So Good," which was released on the Okeh Race Records label in 1929.   Also in 1929, Williams was hired by producer Al Christie to create the dialogue for a series of two-reel comedy films featuring all-black casts. The films, which played on racial stereotypes and used grammatically tortured dialogue, included The Framing of the Shrew, The Lady Fare, Melancholy Dame, Music Hath Charms, and Oft in the Silly Night.

    During the 1930s, Williams secured small roles in race films, a genre of low-budget, independently-produced films with all-black casts that were created solely for exhibition in racially segregated theaters. Williams also created two screenplays for race film production: the Western film Harlem Rides the Range and the horror-comedy Son of Ingagi, both released in 1939. Alfred N. Sack, whose Dallas, Texas-based company Sack Amusement Enteprises produced and distributed race films, was impressed with Williams’ screenplay for Son of Ingagi and offered him the opportunity to write and direct a feature film.  At that time, the only African American filmmaker was the self-financing writer/director/producer Oscar Micheaux.

    Williams’ resulting film, The Blood of Jesus (1941), was produced on a $5,000 budget using non-professional actors for his cast. The film, a religious fantasy about the struggle for a dying’ Christian woman’s soul, was a major commercial success. Sack declared The Blood of Jesus was “possibly the most successful” race film ever made, and Williams was invited to direct additional films for Sack Amusement Enterprises. In the next six years, Williams directed Brother Martin: Servant of Jesus (1942), Marching On! (1943), Go Down Death (1944), Of One Blood (1944), Dirty Gertie from Harlem U.S.A. (1946), The Girl in Room 20 (1946), Beale Street Mama (1947) and Juke Joint (1947). Following the production of Juke Joint, Williams retired from the entertainment industry. He relocated to Tulsa, Oklahoma, where he joined Amos T. Hall in founding the American Business and Industrial College.

    In 1948, U.S. radio comedians Freeman Gosden and Charles Correll were planning to take their long-running comedy program Amos 'n Andy to television. The program focused on the misadventures of a group of African Americans in the Harlem section of New York City. Gosden and Correll were white, but played the black lead characters using racially stereotypical speech patterns. They had previously played the roles in blackface make-up for the 1930 film Check and Double Check, but for the television version they opted to use an African American cast.  Gosden and Correll conducted an extensive national talent search to cast the television version of Amos 'n Andy. News of the search reached Tulsa, where Williams was sought out by a local radio station that was aware of his previous work in race films.  Williams successfully auditioned for Gosden and Correll, and he was cast as Andrew H. Brown. Williams was joined in the cast by New York theater actor Alvin Childress, who was cast as Amos, and vaudeville comedian Tim Moore, who was cast as their friend George “Kingfish” Stevens.

    Amos 'n Andy was the first U.S. television program with an all-black cast, running for 78 episodes on CBS from 1951 to 1953.  However, the program created considerable controversy, with the NAACP going to federal court to achieve an injunction to halt its premiere. After the show completed its network run, CBS syndicated Amos 'n Andy to local U.S. television stations and sold the program to television networks in other countries. The program was eventually pulled from release in 1966, under pressure from civil rights groups that stated it offered a negatively distorted view of African American life.  After Amos 'n Andy ended its network run, Williams made very few professional appearances.

    His last credited role was as a hospital orderly in the 1962 Italian horror production L'Orribile Segreto del Dottor Hitchcock.  Williams died of a kidney ailment on December 13, 1969, at the Sawtelle Veterans Administration Hospital in Los Angeles, California. At the time of his death, news coverage focused solely on his work as a television actor, since few white filmgoers knew of his race films. The New York Times obituary for Williams cited Amos 'n Andy but made no mention of his work as a film director.  Recognition for Williams’ work as a film director came years after his death, when film historians began to rediscover the race films. Some of Williams’ films were considered lost until they were located in a Tyler, Texas, warehouse in 1983.  One film directed by Williams, his 1942 feature Brother Martin: Servant of Jesus, is still considered lost.  Most film historians consider The Blood of Jesus to be Williams’ crowning achievement as a filmmaker. Dave Kehr of The New York Times called the film “magnificent” and Time magazine counted it among its “25 Most Important Films on Race.” In 1991, The Blood of Jesus became the first race film to be added to the U.S. National Film Registry.  Film critic Armond White named both The Blood of Jesus and Go Down Death as being “among the most spiritually adventurous movies ever made. They conveyed the moral crisis of the urban/country, blues/spiritual musical dichotomies through their documentary style and fable-like narratives.”

    Williams was a multitalented man whose energy and unfailing good humor were, by all accounts, extra-ordinary. He was a pioneering success in a medium that was built to exclude his participation in it, and for that he deserves to be remembered.

     

    *wikipedia

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• Straight from Harlem: Suzanne Straight from Harlem: Suzanne de Passe

  • From: GeniusInMotion
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    It’s a long way from the Motown hit factory to the dusty trails of Lonesome Dove (1989), but Suzanne de Passe made that journey, achieving staggering success in the worlds of pop music, film, and television along the way. De Passe’s career began auspiciously in the late 1960s when she discovered and developed the legendary Jackson 5 while a young executive at Motown Records. In 1981, de Passe was named president of Motown Productions, where she focused on television production with a series of high-profile, critically lauded, and award-winning specials such as Motown 25: Yesterday, Today, Forever (1983) and Motown Returns to the Apollo (1985). Then in 1989, a particularly daring production from de Passe looked beyond the storied history of Motown records to a then-unpublished manuscript by Larry McMurtry in the unfashionable western genre: Lonesome Dove. The miniseries was a triumph, winning Emmy, Golden Globe, and Peabody Awards. In 1992, de Passe founded her own production company, de Passe Entertainment. Firmly established as one of the leading entertainment executives—her career is the subject of two case studies taught at the Harvard Business School—de Passe is frankly outspoken about her frustrations with the status quo, noting, “I find that what’s between me and my audience…is a white guy in a suit!”

    Suzanne de Passe was born in Harlem, New York, to a schoolteacher and an executive with Seagrams, Inc. She attended the progressive New Lincoln School, which she credits for her assertive, self-assured approach to business. De Passe joined Motown in 1968 after being introduced to founder Berry Gordy by Cindy Birdsong, a singer with the label’s Supremes. It was in her capacity as “creative assistant” to Gordy that she became aware of the Jackson 5, a fledgling singing group distinguished by the soaring tenor of its nine-year-old front man, Michael. De Passe sold Gordy on the group after watching them perform in an acquaintance’s apartment. Charged with developing the group, de Passe shepherded the five brothers to worldwide fame. It was in this period that de Passe cowrote the screenplay for Lady Sings the Blues, the 1972 film treatment of the life of Billie Holiday, for which she earned an Academy Award nomination.

    Gordy sold Motown Records in 1988, planning to focus on Motown Productions in an effort to expand into film and television production. De Passe was named president, and Time magazine inaugurated her as “one of the most promising new mini-moguls in Hollywood.” That promise was soon fulfilled, as de Passe came away from a chance meeting with author Larry McMurtry with the rights to Lonesome Dove. De Passe later recalled the meeting: “I asked him what he had kicking around the old trunk that hadn’t been produced on film. He told me he had a book coming out in June but didn’t think I’d be interested because it was a western. I told him on the contrary that I would be very interested. I love westerns and have been a horsewoman for a long time.” McMurtry was unable to interest any studios in making the project, but de Passe’s uncanny instinct for recognizing quality remained intact. Lonesome Dove became a landmark miniseries, critically acclaimed and award-laden. The production attracted such luminaries as Robert Duvall, Tommy Lee Jones, and Anjelica Huston and revived a moribund genre, inspiring several sequels. De Passe also produced a number of television specials honoring the Motown legacy, including the above-mentioned Motown 25 and Motown Returns to the Apollo, both winners of Emmy and NAACP Image Awards. De Passe personally won Emmy Awards for these two events, which were both culturally significant and tremendously entertaining programs. She also executive produced Small Sacrifices, a Peabody Award–winning miniseries adaptation of the much-admired book by Ann Rule.

    De Passe formed her own production company, de Passe Entertainment, in 1992. Among her productions in this period were the situation comedies Sister, Sister and Smart Guy and the miniseries The Temptations (NAACP Image Award winner) and The Jacksons: An American Dream. In the Jacksons project, de Passe had the unusual experience of casting an actor to play herself. She chose the glamorous Vanessa Williams, noting, “I took no little amount of heat from my friends, like really Miss Thing!”

    De Passe’s extraordinary career has been recognized with an American Women in Radio and Television Silver Satellite Award and her induction into the Black Filmmakers Hall of Fame, among many other honors. She teaches at Howard University, where she holds the Time Warner Endowed Chair in Media, and continues to be an active presence in entertainment media.

     

    *shemadeit.org

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• platinum910

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• American Idol: Paula Abdul Exi American Idol: Paula Abdul Exits Stage Left

  • From: GeniusInMotion
  • Description:

    Paula Abdul announced she is quitting "American Idol."  Abdul posted on her Twitter account that, "With sadness in my heart, I've decided not to return." Sources say they were blindsided by Abdul’s decision to break off talks and that Fox and the show's producers were saddened that she decided not to return.  They stated that Abdul was "an important part of the 'American Idol' family over the last eight seasons."

    

     

    Abdul had reportedly sought a $20 million salary and more recently had reduced that to $12 million, However, it was still more than twice what Fox, Fremantle and 19 Entertainment were said to be offering.  Although her fans might be upset, advertisers don't expect her exit as an "American Idol" judge to have any significant impact on ad sales or audience ratings.

    Shari Cohen, executive director of Mindshare in New York, which buys TV ad time for national advertisers said, "To me, that show is appointment TV, and a lot of it is driven by the contestants and how compelling they are. I think the judges offer a layer of intrigue and allure, but it's really very much about how compelling are the contestants and does that draw viewers in."  However, Paul Telegdy, who heads unscripted programming at NBC, said he thought it was a mistake for Fox to let her go and that she was a major reason fans watched the show.

    Fox did announce that Kara DioGuardi would return for a second season on the "American Idol" judging panel that includes Simon Cowell and Randy Jackson. It seems the addition of Grammy-nominated songwriter DioGuardi last year raised questions about Abdul's future. Now Victoria Beckham aka “Posh” is on hand for the first round of "American Idol" auditions in the post-Paula Abdul era. The former Spice Girl arrived at a downtown Denver hotel where call-back auditions were being held as scores of onlookers crowded against rope barriers, many snapping photos. Fox, which airs the popular singing show, said Beckham and Katy Perry would be guest judges in Abdul's place.

    It is rumored that Abdul will take on an NBC gig but NBC denied reports that she would join "America's Got Talent" as a judge. Fox denied that she was invited to be a judge on "So You Think You Can Dance." And an ABC rep said she had not been approached about being a judge on "Dancing With the Stars" or any other program.

    Abdul said on Twitter, "I'll miss nurturing all the new talent, but most of all being a part of a show that I helped from day 1 become an international phenomenon!”  What do you think about Abdul’s exit, a big mistake? If so for who Paula or “American Idol”? 

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• DAYTIME EMMY: Hosted by Vaness DAYTIME EMMY: Hosted by Vanessa Williams

  • From: GeniusInMotion
  • Description:

     

    

     

     

     

     

    The National Academy of Television Arts and Sciences announces the 36^th Annual Daytime Entertainment Emmy and Award Nominations.  The awards show is to be hosted by none other than Vanessa Williams: recording and television star, currently seen on the hit show “Ugly Betty.”

    Below is a partial list of the nominations.  Let us know who you think will walk away with the golden angel?

    
    

    
    

    
    

    BEST DRAMA SERIES

    "All My Children"

    "The Bold and The Beautiful"

    "Days of Our Lives"

     

    BEST LEAD ACTOR

    Thorsten Kaye as Zack Slater on "All My Children"

    Peter Reckell as Bo Brady on "Days of Our Lives"

    Anthony Geary as Luke Spencer on "General Hospital"

    Daniel Cosgrove as Bill Lewis on "Guiding Light”

    Christian LeBlanc as Michael Baldwin on "The Young & the Restless"

     

    BEST LEAD ACTRESS

    Debbi Morgan as Angie Hubbard on "All My Children"

    Maura West as Carly Tenney on "As the World Turns"

    Susan Flannery as Stephanie Forrester on "The Bold and the Beautiful"

    Susan Haskell as Marty Thornhart on "One Life to Live"

    Jeanne Cooper as Katherine Chancellor on "The Young and the Restless" 

     

    BEST SUPPORTING ACTOR

    Vincent Irrizary as David Hayward on "All My Children"

    Jacob Young as JR Chandler on "All My Children"

    Van Hansis as Luke Snyder on "As the World Turns"

    Bradford Anderson as Damien Spinelli on "General Hospital"

    Jeff Branson as Shayne Lewis on "Guiding Light"

     

    BEST SUPPORTING ACTRESS

    Melissa Claire Egan as Annie Lavery on "All My Children"


    Alicia Minshew as Kendall Slater on "All My Children"


    Julie Pinson as Janet Snyder on "As the World Turns"


    Tamara Braun as Ava Vitali on "Days of Our Lives"


    Bree Williamson as Jessica Brennan on "One Life to Live"

     

    BEST TALK SHOW - ENTERTAINMENT "

    Live with Regis and Kelly"
"Rachel Ray"
"Ellen"

     

    BEST TALK SHOW - INFORMATIVE

    "The Doctors" 
"

    Dr. Phil"

    "Tyra"

     

    BEST TALK SHOW HOST

    Regis Philbin and Kelly Ripa on "Live with Regis and Kelly"

    Rachel Ray on "Rachel Ray"

    Ellen Degeneres on "Ellen"

     

    BEST CULINARY PROGRAM

    "Barefoot Contessa"

    "Giada at Home"

    "Gourmet's Diary of a Foodie"

    "Grill It! With Bobby Flay"

    "Simply Ming"

     

    BEST CHILDREN'S ANIMATED PROGRAM

    "Curious George"

    "Little Einsteins"

    "Sid the Science Kid"

    "The Backyardigans"

    "Wordworld"

     

    BEST LIFESTYLE PROGRAM

    "Clean House"

    "Made"

    "Peter Perfect"

    "The Martha Stewart Show"

    "This Old House"

     

    BEST MORNING PROGRAM

    "Good Morning America"

    "The Early Show"

    "Today Show"

     

    BEST LEGAL/ COURTROOM PROGRAM

    "Cristina's Court"

    "Family Court with Judge Penny"

    "Judge Hatchet"

    "Judge Judy"

    "People's Court"

     

     

    BEST GAME/ AUDIENCE PARTICIPATION SHOW

    "Cash Cab"

    "Jeopardy!"

    "Who Wants to Be a Millionaire?"

     

    BEST CHILDREN'S SERIES

    "Adventure Camp"

    "Fetch! With Ruff Ruffman"

    "From the Top at Carnie Hall"

    "Postcards from Buster"

     

    BEST PRE-SCHOOL CHILDREN'S SERIES

    "Between the Lions"

    "Johnny and the Sprites"

    "Mama Mirabelle's Home Movies"

    "Sesame Street"

    "The Wonder Pets"

     

    For Complete List of Nominees

    http://www.emmyonline.org/mediacenter/daytime_36th_nominations.html

     

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• The Lone Ranger: Native Ameri The Lone Ranger: Native Americans' Continued Struggle for Equality

  • From: GeniusInMotion
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    As we all know it is nearly impossible to find a Native American actor in Hollywood.   Although many actors of color don’t get the recognition and access they deserved, it seems that Native Americans are pretty much non-existent. While Native Americans were cast in earlier silent films and western movies as early as 1910, the first Native American to land a television series was Jay Silverheels, who portrayed Tonto in The Lone Ranger.   From 1949 to 1957 he appeared in over 200 episodes.  Yet, Silverheels, like many actors in general, was typecast and could not break out of the Tonto persona to procure other acting roles.   This is why he later founded the Indian Actors Workshop, to train Native Americans for roles in theater, television and film.

    Starting with the relocation of the film industry from the East Coast in the early 1900’s, Hollywood producers recruited Native Americans as actors and stuntmen.  Native Americans recognized this as an opportunity to build a better livelihood than what many were experiencing on the reservations.  While becoming a part of the entertainment community Native Americans organized and became a major part of the urban community.   Yet while opportunities appeared rich there were a lot of limitations within the Hollywood community. Although Native Americans were hired for parts they were mostly minor and rarely a lead role.   They earned less pay performing the same jobs as their white counterparts and there was almost no job security.   In the midst of the blatant injustice and discrimination Native Americans actually helped Hollywood portray and glorify the conquest and subordination of the Northern indigenous population as well as popularize the unflattering portrayal of their image and culture.   Like all people of color, they were faced with the decision of participating, making a living and the promise of more opportunity or the inevitability of being non-existent.     However, Native Americans have long sought to reconcile this dichotomy of false imagery, degradation and participation.

    In the 1930’s, Native American Actors organized the Indian Actors Association.  At some studios producers were using actors covered in suntan oil and crowed with braids for lead Native American roles.  Native Americans were appalled by these practices yet powerless and extremely limited in their ability to prevent it.  In 1983, with the help of actor Will Sampson, The American India Registry for the Performing Arts was established.  They provided Native Americans for roles requiring Indian actors.  The organization also worked with film and television studios to encourage historical and cultural accuracy in the portrayal of Native Americans.  After financial difficulties the organization dissolved and the Screen Actors Guild later formed a Native American sub-committee to continue under the same mission.

    In spite of historical discrimination and gross misrepresentation today Native Americans continue to forge ahead and seek to change the Hollywood landscape. While they still push against the grain of stereotyping and limitations progress continues to be made.  Although it remains an uphill battle Native Americans continue to take pride and ownership in who they are multi-ethnically and multi-culturally and who they can become. 

     

    Below are a few of some of the most notable Native American actors today who have helped to pave the way and shift the Hollywood paradigm.    

    Chief Dan George:  During the 1970s, he made his mark in movie history with two movie roles.  In 1970s he played Old Lodge Skins in "Little Big Man" starring Dustin Hoffman, The movie was a humorous look at Custer's Last Stand.  George received an Academy Award nomination for Best Supporting Actor for his role.  Also, in 1976, he starred alongside Clint Eastwood in "The Outlaw Josey Wales."  George continued working in movies and television until his death in 1981.

    Graham Greene:  He is best known for his Academy Award-nominated role as Kicking Bird in the 1990 film "Dances with Wolves." He has a recognizable face because of his long career in television and films. He has also worked on the television series "Northern Exposure" and most recently guest starred on "Numb3rs."

    Elaine Miles:  Best known for her role on the 1990s dramady "Northern Exposure," playing Marilyn Whirlwind. She earned her role on the show by accident when Miles actually brought her mother in for the role, but the show's producers wanted a younger woman.  However, her mother goes on to play her mother on the show. Miles and the cast of "Northern Exposure" receive a Screen Actors Guild nomination in 1995.

    We will continue to explore these oftentimes faceless and nameless trailblazers who persist to make an indelible mark in their communities, Hollywood and the world at large.   We would love for you to share with us any Native American actors you may know who has made a contribution to the industry in front and “behind” the camera!

    *Sources: AAANativeArts.com, IMDB.com

     

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• Is Doing The Right Thing Artis Is Doing The Right Thing Artistic Slavery?

  • From: GeniusInMotion
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    Spike Lee recently had an interview with Ed Gordon on Our World with Black Enterprise where he expressed his frustration with Tyler Perry’s “House of Payne” and “Meet The Browns.”

    “We’ve had this discussion back and forth. When John Singleton [made 'Boyz in the Hood'], people came out to see it. But when he did ‘Rosewood,’ nobody showed up. So a lot of this is on us! You vote with your pocketbook, your wallet. You vote with your time sitting in front of the idiot box, and [Tyler Perry] has a huge audience. We shouldn’t think that Tyler Perry is going to make the same film that I am going to make, or that John Singleton or my cousin Malcolm Lee [would make]. As African-Americans, we’re not one monolithic group, so there is room for all of that. But at the same time, for me, the imaging is troubling and it harkens back to ‘Amos n’ Andy.  Each artist should be allowed to pursue their artistic endeavors, but I still think there is a lot of stuff out today that is coonery and buffoonery. I know it’s making a lot of money and breaking records, but we can do better.…I am a huge basketball fan, and when I watch the games on TNT, I see these two ads for these two shows (Tyler Perry’s 'Meet the Browns' and 'House of Payne'), and I am scratching my head. We got a black president, and we going back to Mantan Moreland and Sleep ‘n’ Eat?” –Spike Lee  (newsone.blackplanet.com)

    There have been a lot of discussions about the state of African American images in film and television. Most ethnic groups face this same dichotomy.  As artists one should be able to pursue any genre of entertainment that appeals to them and that they are passionate about.  Equally, one should be conscious and understand the magnitude of their power when dealing with products for mass consumption, such as weekly television shows that shape our collective consciousness as a society.  

    Tyler Perry has obviously experienced resounding success and this success could only come from having an audience that put their hard earned dollars towards supporting his work.  Perhaps Lee is taking things too seriously here?  Should the Tyler Perry’s of the world be held to a certain standard of storytelling and performance?  If so, who determines what that standard is?   It seems that we would have to look to the consumer who has in this example made their choice crystal clear.  The African American dollar seems to favor these types of movies, sending a direct message to the “powers that be” as to where they will invest their disposable income, and more significantly, their time.  Is it any wonder then that when “Once Upon Of Time When We Were Colored,” “Rosewood” or “Malcolm X” failed to hit the big box office numbers studios resort back to what financially works?   

    Let’s weigh the pro’s and the con’s here.  Tyler Perry has opened up a gateway for non-working actors, as well as helped break new talent.  Yet, if this is all African-American talent can look forward to, perhaps the future is pretty dismal. Tyler Perry’s movies always seem to have a spiritual lining ripe with positive messages. Yet, it’s not the most flattering reflection of African American life and is sometimes downright embarrassing.  Despite this, Tyler Perry has been able to carve a niche for himself as an entrepreneur and an artist in an industry that is very difficult to penetrate.  One is left to wonder to what extent he understands and embraces the theory that with opportunities come certain, perhaps unspoken obligations.  So, where do we draw the line between art and responsibility? Must artists be shackled by these types of rules and be required to elevate their race?  It is clear that Lee has taken on this level of consciousness all throughout his career.  Yet, was that a mandate or a choice? Perhaps in the greater scheme of things there may be many projects that Lee desires to make but opted for something he felt would be more meaningful to the global community?  Maybe as artists the unspoken responsibility to show a broader spectrum of the human experience for a particular ethnic group, and not just relegate ourselves to seemingly “safe” stereotypes and formulas that “work”, shouldn’t be disregarded. 

    Does it bottom-line at integrity or dollars?  Where does one stop and the other begin, and is it as simple as that?  It is really a hard place to be for any artist because those lines can become blurred very easily.  Seems like more than anything, today’s Artists will have to continue to reach a place where that choice will no longer matter because there will be a wide-range of images, and not only a reinforcement of clichés and stereotypical ones. However, until that wonderful and glorious day comes perhaps it’s an obligation that one can’t really afford to ignore?

     

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• Sumi Haru - Producer Sumi Haru - Producer

  • From: GeniusInMotion
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    SUMI SEVILLA HARU is a producer, actor, electronic and print journalist, writer and poet. Her company, Iron Lotus Productions, specializes in festival production, and her just completed the 18^th Annual Mariachi Festival headlined by Jose Hernandez y su Mariachi Sol de Mexico and the Santa Cecilia Festival in  November 2008 in Boyle Heights, California.  She  produced large events for the City of Los Angeles Department of Cultural Affairs, including the Central Avenue Jazz Festival, Mariachi Festival, L.A. Fiesta Broadway, Bolero Festival, five Millennium Festivals, a drama/improvisation program with at-risk Central City youth, L.A. Arts Care-A-Van touring program, Se Habla Everything variety shows, and big band concerts.  HARU was a co-producer and co-host of L.A. Arts Mix a Cable-ACE award-winning television magazine program on the arts and culture of Los Angeles and anchor of L.A. News Brief on City Channel 35. 

    HARU has been a board member of the Screen Actors Guild since 1974.   She served as acting president in 1995, first national vice president with Bill Daniels, Richard Masur and Barry Gordon, and as national recording secretary in four two-year terms with presidents Edward Asner and Patty Duke.  HARU is the national chair and cofounder and of SAG’s Ethnic Employment Opportunities Committee and a co-drafter and negotiator of the “American Scene” language and affirmative action clauses of the national Theatrical and Commercials contracts.  HARU originated the EEOC Career Day and helped develop SAG’s affirmative action conferences.  She chaired the Legislative Committee and served as a legislative advocate on the national state and local levels.  She is a trustee and former president of the SAG-Producers Industry Advancement and Cooperative Fund, and is a former board member of the Screen Actors Guild Foundation. 

    She was the first and only Asian Pacific American to serve as a national vice president of the American Federation of Labor-Congress of Industrial Organizations executive council, elected in 1995 and served until 2001.  The AFL-CIO represents 13 million workers. 

    In the American Federation of Television and Radio Artists she has been on the local and national boards since 1976.  She was the Western national chair of the Equal Employment Opportunities Committee, and was a co-drafter and negotiator of the affirmative action clauses of the national Network and Commercials agreements.  She served as a legislative advocate at the national level on F.C.C. and civil rights issues.

    She completed the Producers Guild of America Workshop—The Power of Diversity in 2007 where she began development of a sitcom pilot.

    Her Iron Lotus:  Memoirs of Sumi Sevilla Haru a one-woman show is designed to play before audiences at university Asian Studies and Women’s Studies.

    HARU hosted Up for Air, the weekday morning magazine program for KPFK Pacifica Radio where she also produced and hosted programs on multicultural issues including the Rising Sun controversy, the Clarence Thomas Supreme Court confirmation hearings, a special on the commemoration of the atomic bombings of Hiroshima and Nagasaki, election coverage and the weekly calendar of events.

    HARU was a producer/moderator at KTLA-TV for 17 years on Gallery, 70’s Woman, 80’s Woman and Weekend Gallery public affairs programs.  She also produced and hosted specials on the Philippines, Taiwan, the German Democratic Republic (East Germany), the U.S.S.R. and Nicaragua, and was the administrative producer of the Toys for Tots Telethon.

    HARU was the president and cofounder of the Association of Asian Pacific American Artists which seeks employment opportunities and balanced images of Asian and Pacific Islanders on film and television screens.  She is a member of the national executive board of the Asian Pacific American Labor Alliance, AFL-CIO, and a vice president of the Los Angeles Chapter of the organization.

    She was a founding member and on the advisory board of the Cultural Environment Movement spearheaded by Dr. George Gerbner, and she served as the co-president of the County of Los Angeles Media Image Coalition that seeks balanced media images for under-represented groups in the television and film industry.  The county board of supervisors authorized the coalition to convene an unprecedented forum with television news media executives and law enforcement and emergency agencies to assess the news coverage during the 1992 civil unrest. 

    She was a columnist for Asian Week for eight years, and her articles also appeared in The Chicago Shimpo, AsiAm, The Korea Times, Neworld, Screen Actor and Dialog.  She developed Iron Lotus a play with poetry and music for Inner City Cultural Center.  She also has written for the East West Players.

    As first vice chair of the National Conference of Christian and Jews Asian Pacific American Focus Program and member of the Media Image Task Force, she initiated the publication of ASIAN PACIFIC AMERICANS:  A Handbook on How to Cover and Portray Our Nation’s Fastest Growing Minority Group, published in cooperation with Asian American Journalists Association and the Association of Asian Pacific American Artists.

    She co-chaired Mayor Tom Bradley’s Asian/Pacific American Heritage Committee, and was the chair of the L.A. City Fire Department’s Blue Ribbon Committee on Affirmative Action.  She also was an advisory board member of Search to Involve Pilipino Americans, Asian Pacific American Legal Center, Leadership Education for Asian Pacifics, Women’s Institute and Health Center, The Ensemble Theatre and Communications Bridge.  A cofounder of the Lotus Festival, she has served on its advisory board for many years.

    She was a member of the State of California Drug and Alcohol Department Asian and Pacific Islander Advisory Committee and the Women’s Leadership Coalition as was a facilitator for the Asian and Pacific Islander Forum II.  She served as a grants consultant to the U.S. Department of Health and Human Resources Office of Substance Abuse Prevention, the Pacific Asian Alcohol Program and Special Service for Groups.

    Iron Lotus Productions, developed a cable “dramedy,” Watch This Space, that she wrote, executive produced and played the lead.  Other production credits include Women Pioneer videos for the City of Los Angeles Telecommunications Department, and television programs for Pacific Asian Alcohol Program and Asian Pacific American Legal Center.

    As an actor HARU was seen in the films M*A*S*H and Krakatoa, East of Java.  Her television appearances include Frank TV, Young and the Restless, Sweepstakes and Hill Street Blues.  She was on the board of directors of the East West Players for 10 years and performed in many of their productions.  She was also seen on the boards in A Gift of Peace, Stateside Girls, CitizenShip/The Harry Bridges Story, Teahouse of the August Moon, Street Scene, Tenderloin, Gold Watch and O.F. Ostrogoths.

    She is a keynote speaker and lecturer at universities and for national and community organizations, and has moderated panels on a variety of subjects including a Washington, D.C. panel on television employment and programming opportunities for people of color that aired on C-SPAN and a national video conference on women’s issues sponsored by the AFL-CIO.  On the faculty of Columbia College, she taught a televised production workshop that gave junior and senior level students experience comparable to their future work in the entertainment industry.

    HARU was honored by the National Women’s Political Caucus in February 2000, and received the Buddy Award from the National Organization for Women in October 2000. She is one of 12 nationally selected Asian and Pacific Islander “Women of Hope” featured in an educational study guide by the Bread and Roses Cultural Project.  She received the Most Distinguished Arts and Media Award from the UCLA Asian American Studies Center and the Visionary Award from the East West Players.  She was the County of Los Angeles 1994 Volunteer of the Year in Human Services.  Among other recognitions are commendations from Leadership Education for Asian Pacifics, Filipino American National Historical Society,  Secretary of State March Fong Eu, the California Senate and Assembly, Mayor Tom Bradley, the Los Angeles City Council, The Los Angeles County Board of Supervisors, L.A. City Human Relations Commission, the Southern California Library for Social Studies & Research, the Coalition of Filipino Organizations of Colorado and the National Conference of Christians and Jews.  She was one of the first recipients of the Woman Warrior Award from the Asian Pacific Women’s Network. 

    HARU was born in Orange, New Jersey (although conceived in Manila) and spent most of her childhood in Arvada, Colorado.  She majored in music at the University of Colorado.  Her daughter Connie Vieaux Bowles graduated from USC with a B.A. in fine arts and is the Events Director of the San Jose City Hall, and daughter Vanda Vieaux attended UCLA and is an accounts specialist.

     

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• Bruce Lee: Philosopher, Master Bruce Lee: Philosopher, Master, Hollywood ICON

  • From: GeniusInMotion
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    The History Channel recently featured the documentary “How Bruce Lee Changed the World”, paying homage to filmmaker and martial artist extraordinaire.  The documentary’s focus was on how Bruce, despite having only made only a few films in Hollywood, continues to have a significant impact on popular culture.  Interviewees included the likes of actor/musician LL Cool J, film director Brett Ratner, comedianne Margaret Cho, body builder Flex Wheeler, and musician/composer RZA of the Wu-Tang Clan.  What was evident in the documentary, and what is most striking about Bruce Lee’s influence on the world was how his philosophy, his astonishing skill as a martial artist, and incredible expertise behind the camera left an indelible mark on people worldwide.

    Bruce Lee’s life philosophy stressed the importance of knowledge of self.  His mantra was simple “be water”.  The importance of incorporating what is useful and disregarding that which is dispensable, or ineffective, was of particular significance in his philosophy.  Part of what is so incredible about these teachings is their simplicity.  They seem very basic, and yet are so powerful--anyone can adopt them, a child or a grown adult.  Lee’s thinking was universal, and his depth, dedication, charm and larger-than-life spirit, cemented its place in pop culture, and reached across all color lines.

    A pioneer in his own right, Lee’s development of Jeet Kune Do (JKD) or Way of the Intercepting Fist brought something fresh and exciting to martial arts.  The documentary cited the premise for his fighting style as the basis for urban art forms including hip hop dancing by B-Boys and B-Girls and Free Running.  His principles of being simple, direct, and non-classical are evident in both.  Both styles of artistic interpretation through body movements have been brought to life by diverse groups of people from all over the world who continue to implement his teachings today.  Lee’s symmetrical physique is also cited as the foundation for the way in which body builders train and develop their muscles.  Flex Wheeler cites Lee as a pioneer in his incorporation of weight training for martial arts, which has become a standard practice today.

    Bruce Lee’s skills didn’t stop at being a premier martial arts master and philosopher.  His beliefs and mastery of JKD served him well both in front of and behind the camera.  The documentary exemplified the ways in which Lee was an adept choreographer behind the scenes and a talented filmmaker.  His ability to manipulate the way in which the camera captured moves was groundbreaking. 

    The documentary chronicled Lee’s struggle to be acknowledged by the Hollywood establishment.  It highlights an instance where Lee was mistaken for a driver on the set of the TV series Green Hornet.  Dressed in a Kato costume, Lee was approached as though he was a chaffeur by the show’s producers.   When they were made aware that he wasn’t a driver, but was actually the co-star of the series, they brushed it off.  Lee was later asked about the incident, and his feelings about being stereotyped.  He was said to reply “if I let that affect me I wouldn’t be Bruce Lee.”

    Lee was most certainly a front-runner in breaking down the barrier and opening up the film industry to other Asian-Americans.  Jackie Chan, not only worked with Lee, but to this day still considers him “the best”. Margaret Cho talked about Lee’s influence in terms of breaking into the entertainment industry and bringing her brand of comedy to Hollywood.  More significantly, Lee’s influence crossed the color lines.  The documentary also features The RZA who comments on how Lee has influenced his way of life, his art, and the foundation of his rap group “The Wu-Tang Clan”.  Bret Ratner talks about how Lee’s movies were a big influence on his work as a director, and how he has paid homage to them in his own work.

    Lee’s legacy is most certainly obvious from his teachings, development of JKD, as well as the film and televison work he left for us to embrace and enjoy.  His untimely demise only leaves us to wonder what more this incredible artist could have accomplished were he to have lived well past his 32 years.  Regardless of what could have been, we celebrate Bruce Lee for what he was a martial arts master and Hollywood trailblazer. 

     

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• Sayonara, Hollywood! A Salute Sayonara, Hollywood! A Salute to Miyoshi Umeki, Singer and Actress (1929 – 2007)

  • From: GeniusInMotion
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    A Japanese native, Miyoshi Umeki was a singer and actress in Hollywood for almost 20 years.  Esther Rolle had a 53-year career in show business.  Though her parents didn’t approve of western culture, Miyoshi influences included the likes of Doris Day and Peggy Lee, whom she imitated in secret.  She also heavily inspired by Kabuki Theater.  Early on in her career in Japan, Miyoshi performed under the name “Nancy Umeki” singing American standards in nightclubs.  She soon moved to the U.S. and became a naturalized citizen in 1955 and became a mainstay in the entertainment industry. 
    
     
    The American music and film industry was introduced to  Miyoshi during her stint on the Arthur Godfrey Talent Scouts.  Miyoshi landed a record deal with Mercury Records and was noticed by “Sayonara” film director Joshua Logan, who immediately cast her in the film.  Miyoshi played opposite Red Buttons, who portrayed a sergeant in the Air Force, as his wife.  Their marriage is doomed, as interracial unions were frowned on by society at the time, and leads to his persecution and invariably results in their double-suicide. Her portrayal garnered Miyoshi an Oscar win for Best Supporting Actress (Red Button also won for Best Supporting Actor).  She was the first and continues to be the only Asian to win an Oscar in the Acting category.    
     
    Miyoshi went on to receive a Tony, as well for her portrayal of “Mei Li” in the Rodgers and Hammerstein production of “Flower Drum Song” in 1958.  The back-to-back wins for Ms. Umeki were unprecedented in the Asian American community.  “The warmth of her art works a kind of tranquil magic, and the whole theater relaxes” boasted a cover story by Time Magazine (Washington Post, September 2007).  The same year as her Tony win, she married TV director Wynn Opie, which ended in divorce 9 years later. During this marriage, Umeki appeared in several films with the same “East-meets-West” themes.
     
    Two years after her divorce, she turned her talents to the small screen in television show “The Courtship of Eddie’s Father, where she played “Mrs. Livingston” the housekeeper for three years on ABC.  She also re-married during this time to Randall Hood and adopted a son who they named Michael.  After her run on “The Courtship of Eddie’s Father”, she retired her on-screen career and operated an LA-based editing equipment rental house, whose clients were film studios and universities.  She eventually retired and joined her son in Missouri where she died from complications related to Cancer in 2007 at the age of 78 (Wikipedia).
     
    Genius In Motion salutes Miyoshi Umeki’s work in the entertainment industry and for being a pioneer for Asian-Americans in film, music and television.
     
    Check out videos of Miyoshi in our videos section!

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• Tim Reid - Producer ( part 1 Tim Reid - Producer ( part 1 of 2 )

  • From: GeniusInMotion
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    TIM REID, the Emmy-nominated actor, director and producer, has been a mainstay in the  entertainment industry for the last three decades. He starred as "Venus Flytrap," on the popular CBS television series "WKRP in Cincinnati" from 1978 - 1982. Twice he has been nominated for the NAACP Image Award for "Best Actor in a Comedy" for his popular characters.  Reid has had many starring roles over the years in several television series, including "The Richard Pryor Show," "Simon & Simon," "Frank's Place," "Snoops," "Save Our Streets," and the hit WB series "Sister, Sister." For the past three seasons he can also be seen guest starring on Fox Network’s, “That 70’s Show”. Reid, born in Norfolk, Virginia, graduated from Norfolk State University in 1968 with a B.S. in Business/Marketing and launched his career as a marketing representative for DuPont. However, he soon set his sights on the world of Showbiz and set off on a national road tour with comedian Tom Dreesen. After an international tour with Della Reese, he settled in Hollywood and began his television career. 

    Reid has written for several of the shows that he acted in, including "WKRP in Cincinnati," "Simon & Simon," "Frank's Place" and "Snoops," in which he co-starred with his wife, Daphne Maxwell Reid. Reid has also produced several of his popular television series such as "Frank's Place," "Snoops" and "The Tim & Daphne Show," in which the Reids co-starred and co-created. He received producing nods as a nominee for the Cable Ace Awards and the Producer's Guild Awards for the Family Channel/BET movie "Race to Freedom: The Underground Railroad." In 1988, he received two Emmy nominations for "Best Actor in a Comedy" and for "Best Producer of a Comedy Series" when he starred in CBS' "Frank's Place" with his wife Daphne. He also received both the NAACP Image Award and the Viewers for Quality Television Award for "Best Actor in a Comedy."Reid founded Tim Reid Productions, Inc. in 1989, and through its association with Proctor & Gamble, executive produced the critically acclaimed 1998 CBS movie “About Sarah,” starring Mary Steenburgen, Kellie Martin, and Diane Baker for which he received a Christopher Award. In 1990, he co-founded United Image Entertainment through which he produced four independent films. For his critically acclaimed feature film, "Once Upon a Time…When We Were Colored," he received producing recognition as "Best in Show" by the Houston International Film Festival and he also won the "Directorial Award" from the Ft. Lauderdale International Film Festival.

    In 1999, he was given the “Oscar Micheaux Award” by the Producer’s Guild of America for outstanding lifetime achievement. In September of 2008, “Tim & Tom, An American Comedy in Black And White” his autobiography (co-written with Tom Dreesen and Ron Rapoport) will be released by the Chicago University Press. In 1997, Reid took a giant step and brought together investors to build his own film studio. As Founder and President of New Millennium Studios in Petersburg, Virginia, Reid is setting the stage toward becoming a major player in the business of independent movie making. NMS' first feature production, "Asunder," starring Blair Underwood, Debbi Morgan and Michael Beach, was directed and produced by Reid and released through New Millennium Releasing. His African-American history project, “American Legacy Television” has received numerous awards over the past five years. American Legacy Collection Vol. 1 is available on line at nmstudios.com. Reid also created several cable television shows, and licensed some of his other content, for the launch of cable network’s TV-One in January of 2004. “For Real”, the latest film directed by Reid was produced by his studio and released by New Millennium Releasing. To complete the circle, Reid has created Obsidian Home Entertainment. At its eleventh-year anniversary, New Millennium Studios is at a pivotal place in the history of American independent studios with a proven track record for quality and success in the creation, production and distribution of African-American niche entertainment.

    
    Through the years, Reid has felt a deep responsibility to give back to the community and as a result of his tireless efforts and generosity, has been honored by many organizations. In 1991 he was inducted into the National Black College Hall of Fame. In 1996, he received a Doctor of Humane Letters from Norfolk State University. In 1998 he was named “Virginian of the Year” by the Virginia Press Association and received a Doctor of Humane Letters from Virginia State University. In 2000, he received a Doctor of Humane Letters from Central State University and in 2001, from Medgar Evers College of CUNY. In 2003 he received a Doctor of Humane Letters from St. Augustine College and a Doctor of Laws from Bethune-Cookman College. Reid has also raised scholarship funds annually through the “Tim Reid Celebrity Weekend” of golf & tennis for The Tim Reid Scholarship Foundation, now in its 17th year.

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• Tim Reid - Producer ( part 2 Tim Reid - Producer ( part 2 of 2 )

  • From: GeniusInMotion
  • Description:

    TIM REID, the Emmy-nominated actor, director and producer, has been a mainstay in the  entertainment industry for the last three decades. He starred as "Venus Flytrap," on the popular CBS television series "WKRP in Cincinnati" from 1978 - 1982. Twice he has been nominated for the NAACP Image Award for "Best Actor in a Comedy" for his popular characters.  Reid has had many
    starring roles over the years in several television series, including "The Richard Pryor Show," "Simon & Simon," "Frank's Place," "Snoops," "Save Our Streets," and the hit WB series "Sister, Sister." For the past three seasons he can also be seen guest starring on Fox Network’s, “That 70’s Show”. Reid, born in Norfolk, Virginia, graduated from Norfolk State University in 1968 with a B.S. in Business/Marketing and launched his career as a marketing representative for DuPont. However, he soon set his sights on the world of Showbiz and set off on a national road tour with comedian Tom Dreesen. After an international tour with Della Reese, he settled in Hollywood and began his television career.

    Reid has written for several of the shows that he acted in, including "WKRP in Cincinnati," "Simon & Simon," "Frank's Place" and "Snoops," in which he co-starred with his wife, Daphne Maxwell Reid. Reid has also produced several of his popular television series such as "Frank's Place," "Snoops" and "The Tim & Daphne Show," in which the Reids co-starred and co-created. He received producing nods as a nominee for the Cable Ace Awards and the Producer's Guild Awards for the Family Channel/BET movie "Race to Freedom: The Underground Railroad." In 1988, he received two Emmy nominations for "Best Actor in a Comedy" and for "Best Producer of a Comedy Series" when he starred in CBS' "Frank's Place" with his wife Daphne. He also received both the NAACP Image Award and the Viewers for Quality Television Award for "Best Actor in a Comedy."Reid founded Tim Reid Productions, Inc. in 1989, and through its association with Proctor & Gamble, executive produced the critically acclaimed 1998 CBS movie “About Sarah,” starring Mary Steenburgen, Kellie Martin, and Diane Baker for which he received a Christopher Award. In 1990, he co-founded United Image Entertainment through which he produced four independent films. For his critically acclaimed feature film, "Once Upon a Time…When We Were Colored," he received producing recognition as "Best in Show" by the Houston International Film Festival and he also won the "Directorial Award" from the Ft. Lauderdale International Film Festival. In 1999, he was given the “Oscar Micheaux Award” by the Producer’s Guild of America for outstanding lifetime achievement. In September of 2008, “Tim & Tom, An American Comedy in Black And White” his autobiography (co-written with Tom Dreesen and Ron Rapoport) will be released by the Chicago University Press. In 1997, Reid took a giant step and brought together investors to build his own film studio. As Founder and President of New Millennium Studios in Petersburg, Virginia, Reid is setting the stage toward becoming a major player in the business of independent movie making. NMS' first feature production, "Asunder," starring Blair Underwood, Debbi Morgan and Michael Beach, was directed and produced by Reid and released through New Millennium Releasing. His African-American history project, “American Legacy Television” has received numerous awards over the past five years. American Legacy Collection Vol. 1 is available on line at nmstudios.com. Reid also created several cable television shows, and licensed some of his other content, for the launch of cable network’s TV-One in January of 2004. “For Real”, the latest film directed by Reid was produced by his studio and released by New Millennium Releasing. To complete the circle, Reid has created Obsidian Home Entertainment. At its eleventh-year anniversary, New Millennium Studios is at a pivotal place in the
    history of American independent studios with a proven track record for quality and success in the creation, production and distribution of African-American niche entertainment.

    
    Through the years, Reid has felt a deep responsibility to give back to the community and as a result of his tireless efforts and generosity, has been honored by many organizations. In 1991 he was inducted into the National Black College Hall of Fame. In 1996, he received a Doctor of Humane Letters from Norfolk State University. In 1998 he was named “Virginian of the Year” by the Virginia Press Association and received a Doctor of Humane Letters from Virginia State University. In 2000, he received a Doctor of Humane Letters from Central State University and in 2001, from Medgar Evers College of CUNY. In 2003 he received a Doctor of Humane Letters from St. Augustine College and a Doctor of Laws from Bethune-Cookman College. Reid has also raised scholarship funds annually through the “Tim Reid Celebrity Weekend” of golf & tennis for The Tim Reid Scholarship Foundation,
    now in its 17th year.

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