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Travis Porter Flash Mob at Lenox Mall in ATL. Hit song Faster comes on a Food Court goes Crazy!

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NEWS: Steve Francis got his chain snatched at a Houston rap show

By Cory McClanahan

Former Houston Rockets, Orlando Magic and New York Knicks guard Steve Francis got dragged to the floor, stepped on and choked by his own chain, which was later stolen, during an altercation at a hip-hop show in Houston over the weekend.

Francis, 38, was one of many people on stage during a concert by Houston rap duo the Sauce Twinz. For one reason or another, beef began to broil, and before long, Francis found a hand around the gold chain around his neck, then found himself on the floor. Sources told TMZ that the as-yet-unidentified man who grabbed the chain ended up making off with it, and that police were not called to the scene in connection with the fight or the theft.

This is the latest in a string of sad and somewhat concerning updates on Francis over the past year, as the nine-year NBA veteran and former No. 2 overall pick in the 1999 draft — who last played pro ball in China in 2010, making just four appearances for the Beijing Ducks before being cut — has become considerably more likely to make headlines for things going awry or getting weird in nightclubs than for anything else.

MUSIC NEWS: Drake’s Entire Album Is on Hot R&B/Hip-Hop Songs Chart

Seven more songs debut from surprise album, giving Drake a record-breaking 21 entries.

Drake rules 42 percent of the 50-position Hot R&B/Hip-Hop Songs chart (dated March 7), as the hip-hop star has 21 concurrent songs on the tally — breaking his own record for the most simultaneously charting hits in the history of the chart. (The new chart will be refreshed on Billboard‘s websites on Thursday, Feb. 26.)

Seven more tracks from his surprise album If You’re Reading This It’s Too Latedebut on the newest chart, joining the 10 already-charting cuts from the set. Thus, all 17 tracks from Drake’s album are charting on the tally.

Drake Becomes First Rapper to Top Artist 100

His grand total climbs to 21 charting tracks, as he’s also a featured act on four additional songs.

Drake surpasses his previous record for the most concurrently-charting songs — 14 – which he matched a week ago (on the chart dated Feb. 25) following the debut of his album.

The new songs enter off the strength of downloads and streaming, with every track from the set logging no less than 1.8 million U.S. streams in the week ending Feb. 22, according to Nielsen Music. Of the album’s tracks, “Energy” leads the pack, taking Streaming Gainer honors and increasing by 201 percent (to 4.6 million clicks), with 82 percent stemming from Spotify plays. Sales of the cut also rise (up 21 percent to 77,000 downloads), driving it 4-1 on Rap Digital Songs — his first No. 1 as a lead act (and fourth overall) on the still-young chart.

Drake Decoded: 10 Subliminal Shots on ‘If You’re Reading This It’s Too Late’

Of his latest arrivals on the chart, “Know Yourself” earns the Hot Shot Debut at No. 23, owed in part to a 13 percent spike in downloads (to 15,000).

If You’re Reading This It’s Too Late remains at No. 1 on R&B/Hip-Hop Albums, selling 129,000 copies in its second week (down 74 percent). The momentum of the new project secures a second week atop the Billboard Artist 100, where Drake became the first rapper to earn a No. 1 spot.

Here are Drake’s 21 titles on Hot R&B/Hip-Hop Songs (dated March 7, 2015):
No. 4 – “Only,” Nicki Minaj, featuring Drake, Lil Wayne & Chris Brown
No. 5 – “Truffle Butter,” Nicki Minaj, featuring Drake & Lil Wayne
No. 9 – “Energy”
No. 16 – “Tuesday,” ILoveMakonnen, featuring Drake
No. 17 – “Legend”
No. 19 – “10 Bands”
No. 22 – “Blessings,” Big Sean, featuring Drake
No. 23 – “Know Yourself” (Debut)
No. 26 – “No Tellin’”
No. 27 – “Preach,” featuring PartyNextDoor
No. 28 – “6 God” (Debut)
No. 29 – “Used To,” featuring Lil Wayne
No. 32 – “Now & Forever”
No. 34 – “6 Man”
No. 38 – “Jungle”
No. 39 – “Star67″ (Debut)
No. 40 – “Madonna” (Debut)
No. 42 – “Company” Featuring Travis Scott” (Debut)
No. 43 – “Wednesday Night Interlude” featuring PartyNextDoor (Debut)
No. 45 – “6PM In New York”
No. 49 – “You & The 6″ (Debut)

STUFF I LIKE: Oscar’s First Black Winner Accepted Her Honor in a Segregated ‘No Blacks’ Hotel in L.A.

By Seth Abramovitch

On a February afternoon in 1940, Hattie McDaniel — then one of the biggest African-American movie stars in the world — marched into the Culver City offices of producer David O. Selznick and placed a stack of Gone With the Wind reviews on his desk. The Civil War epic, released two months earlier, had become an instant cultural sensation, and McDaniel’s portrayal of Mammy — the head slave at Tara, the film’s fictional Southern plantation — was being singled out by both white and African-American critics as extraordinary. The Los Angeles Times even praised her work as “worthy of Academy supporting awards.” Selznick took the hint and submitted the 44-year-old for a nomination in the best supporting actress category, along with her co-star, Olivia de Havilland, contributing to the film’s record-setting 13 noms.

The 12th Academy Awards were held at the famed Cocoanut Grove nightclub in The Ambassador Hotel. McDaniel arrived in a rhinestone-studded turquoise gown with white gardenias in her hair. (Seventy years later in 2010, a blue-gown– and white-gardenia–clad Mo’Nique, one of 11 black actors to win Academy Awards since, was the only one to pay homage to McDaniel while accepting her best supporting actress Oscar for Lee Daniels‘ Precious.) McDaniel then was escorted, not to the Gone With the Wind table — where Selznick sat with de Havilland and his two Oscar-nominated leads, Vivien Leigh and Clark Gable — but to a small table set against a far wall, where she took a seat with her escort, F.P. Yober, and her white agent, William Meiklejohn. With the hotel’s strict no-blacks policy, Selznick had to call in a special favor just to have McDaniel allowed into the building (it was officially integrated by 1959, when the Unruh Civil Rights Act outlawed racial discrimination in California).

“Every picture and every line, it belonged to Hattie. She knew she was supposed to be subservient, but she never delivered a subservient line,” says MaBel Collins (center), 77, partner of Edgar Goff, McDaniel’s grandnephew. McDaniel’s descendants were photographed Feb. 13 at The Culver Studios in Culver City, a few yards from Gone With the Wind producer David O. Selznick’s former offices and where most of the movie was filmed.

READ MORE: Hattie McDaniel Defies Critics in 1947 THR Essay: “I Have Never Apologized”

A list of winners had leaked before the show, so McDaniel’s win came as no shock. Even so, when she was presented with the embossed plaque given to supporting winners at the time, the room was rife with emotion, wrote syndicated gossip columnist Louella Parsons: “You would have had the choke in your voice that all of us had.” The daughter of two former slaves gave a gracious speech about her win: “I shall always hold it as a beacon for anything I may be able to do in the future. I sincerely hope that I shall always be a credit to my race and the motion picture industry.”

But Hollywood’s highest honor couldn’t stave off the indignities that greeted McDaniel at every turn. White Hollywood pigeonholed her as the sassy Mammy archetype, with 74 confirmable domestic roles out of the IMDb list of 94 (“I’d rather play a maid than be a maid,” was her go-to response). The NAACP disowned her for perpetuating negative stereotypes. Even after death, her Oscar, which she left to Howard University, was deemed valueless by appraisers and later went missing from the school — and has remained so for more than 40 years. Her final wish — to be buried in Hollywood Cemetery — was denied because of the color of her skin.

McDaniel’s career was defined by contradictions, from performing in “whiteface” early on to accounts that her refusal to utter the N-word meant it never made it onscreen in Gone With the Wind. “We all grew up with this image of her, the Mammy character, kind of cringing,” says Jill Watts, author of Hattie McDaniel: Black Ambition, White Hollywood. “But she saw herself in the old-fashioned sense as a ‘race woman’ — someone advancing the race.” Adds Mo’Nique: “That woman had to endure questions from the white community and the black community. But she said, ‘I’m an actress — and when you say, “Cut,” I’m no longer that.’ If anybody knew who this woman really was, they would say, ‘Let me shut my mouth.’”

A staging for a 1939 Oscars newsreel had McDaniel standing by a table laden with awards; her best supporting actress plaque is up front.

•••

Said McDaniel in 1944 about her disappointing prospects following her Oscar win, “It was as if I had done something wrong.” Selznick’s first move had been to dispatch her on a live, movie-palace tour as Mammy, which played to half-filled houses. But he saw less and less use for his typecast star, and Warner Bros. eventually bought out her contract.

Even after World War II, she continued to play underwritten maid parts in such films as 1946’sSong of the South, Walt Disney’s adaptation of the Uncle Remus stories, now considered a rare racist blot on the studio’s legacy. In her final years, McDaniel found success on the radio, taking over in 1947 from Bob Corley — a white voice actor who mimicked an African-American woman — as the title character in Beulah, a hit comedy series about a live-in maid. It was the first time an African-American woman starred in a radio show, earning McDaniel $1,000 a week. She was cast in the TV version of Beulah in 1951 but shot only six episodes before falling ill. She died Oct. 26, 1952, of breast cancer. She was 57.

McDaniel with Leigh as Scarlett O’Hara in a scene from the 1939 film, which won best picture.

Though she had been married four times — losing her first husband to pneumonia, the others to divorce — McDaniel never had children of her own. The McDaniel bloodline lives on through her sister, Etta. Etta’s grandson Edgar Goff, who devoted much of his life to keeping Hattie’s memory alive, died in 2012. “He was an urban engineer by profession, but his passion was black Hollywood, and the Hattie McDaniel story in particular,” says Edgar’s daughter Kimberly Goff-Crews, secretary and vice president for student life at Yale University. Edgar would regale his kids with stories of their great-great-aunt Hattie, who had hoped her descendants might choose a different path. “My father said that Hattie was pretty clear that she didn’t want the family to be in Hollywood,” says Goff-Crews. “She wanted them to have ‘good, normal’ jobs, so to speak — doctors and lawyers. She was no stage mom.”

In her last days, McDaniel threw a deathbed party, coincidentally attended by her grandnephew’s future life partner MaBel Collins, then 15, who recalls “people milling around, drinking, laughing. Guests would go in one or two at a time and visit with her. I had no idea who that dying movie star was until a couple years later, I saw Gone With the Wind> — and realized that was Hattie in the bed.”

In her last will and testament, McDaniel left detailed instructions for her funeral. “I desire a white casket and a white shroud; white gardenias in my hair and in my hands, together with a white gard­enia blanket and a pillow of red roses,” she wrote. “I also wish to be buried in the Hollywood Cemetery,” today known as Hollywood Forever Cemetery. But the resting place of numerous showbiz types — including GWTW director Victor Fleming — had a whites-only policy. Hattie was buried at Angelus-Rosedale Cemetery, the first L.A. cemetery open to all races. In 1999, Edgar successfully lobbied to get a marble memorial to McDaniel placed at Hollywood Forever.

McDaniel also specified what was to become of her Oscar, which an appraiser dismissed as having “no value” in an accounting of her estate. Despite working steadily until her death, McDaniel left the world in debt: Her belongings were valued at $10,336.47 (about $95,000 today), $1,000 less than what she was deemed to owe the IRS. The Oscar, she wrote, was to be left to Howard University, but the award went missing from the Washington, D.C., school during the early 1970s.

In 2011, inspired in part by Mo’Nique’s Oscar-night tribute, W. Burlette Carter, a professor at George Washington Law School, undertook a yearlong investigation of the missing Oscar. Though the school was eventually cooperative, it never gave her permission to search its stacks. Carter, who says the Oscar would today be worth half a million dollars, dismisses one theory that it was tossed into the Potomac River by “angry protesting students” after Martin Luther King Jr.‘s 1968 assassination. She discovered that the Oscar never came to the school from McDaniel’s estate, but was gifted in the early 1960s by actor Leigh Whipper, a friend of Hattie’s from when she ran the Hollywood Victory Committee division that entertained black troops during World War II. The last time anyone remembers seeing the Oscar was 1972, when it was removed from a glass case in the school’s drama department, which has since been gutted. (Howard declined comment.) “It’s a sad story,” says Carter, “but this Oscar represents a triumph for blacks — because we can look back and see that things really are so much better now than they were at that time.”

McDaniel (center), in front of her house on South Harvard Boulevard in L.A.’s West Adams, with World War II volunteers in 1942. McDaniel was instrumental in a 1948 U.S. Supreme Court decision striking down restrictions against African-Americans moving into the area, which is southwest of downtown.

•••

One of 13 children, McDaniel was born June 10, 1893, into extreme poverty in Wichita, Kan. Following the family’s move to Denver, she observed her brothers, Otis and Sam, who dubbed themselves the “Cakewalk Kids” after a dance fad that doubled as a sly caricature of white cotillions. Hattie, determined to avoid her mother’s and sisters’ fates as maids, joined the show, doing impressions in “whiteface” for African-American audiences. “She was in many ways radical,” says Watts. “Her impressions in whiteface, well, people — certainly women — didn’t do that then.”

In 1929, McDaniel landed a gig in a road tour of the hit musical Show Boat. But the stock market crash led to layoffs by producer Florence Ziegfeld Jr., stranding a penniless Hattie in Milwaukee. Undaunted, she took a job as a bathroom attendant at Sam Picks Suburban Inn and stepped in when the venue had no headliner. Her showstopping singing and dancing earned her $90 in tips and a job on the spot.

In 1931, McDaniel moved to Los Angeles, joining acting siblings Etta and Sam. Opportunities were limited to pleasant and abiding servant roles: The moral-code-enforcing Hays Office prohibited mixed-race romances or anything considered to be “threatening behavior” by African-American characters. For an actor who was light-skinned or couldn’t capture the faux “Black English” dialect conceived by white screenwriters, it was difficult to find work. Hattie, with her dark skin and ample figure, started booking parts immediately, including an uncredited speaking role in 1932’s Blonde Venus as Marlene Dietrich‘s servant.

In 1999, McDaniel received a cenotaph at Hollywood Forever Cemetery. Her family decided to keep her remains at the original burial site in Angelus-Rosedale Cemetery.

In 1934, she landed her first studio contract, earning $300 for 11 days of work in Fox’s Judge Priest, a racist comedy that starred controversial African-American performer Stepin Fetchit, who became a millionaire off his “laziest man in the world” character. According to historian Watts, Fetchit gave McDaniel a chilly reception on the set, threatened by her reputation as a rising comedy star. But the film’s director, John Ford, loved Hattie and expanded her role. At 41, with hundreds of uncredited films under her belt, McDaniel finally saw her name on the silver screen, misspelled as “McDaniels.”

By 1935, McDaniel was being touted as “one of the most prominent performers of her race” to promote the Clark Gable comedy China Seas. She and Gable forged a close friendship during filming. (When Gable, who loved pranking her, learned his co-star wasn’t welcome at GWTW’s 1939 Atlanta premiere — Georgia law prohibited blacks in white theaters — he refused to go. Only at McDaniel’s urging did he relent. Also: Among the teen choir members costumed as slaves at the event was a young Martin Luther King Jr.)

It was Bing Crosby, a good friend of Hattie’s brother Sam (the only African-American ever to appear on I Love Lucy), who suggested that Selznick cast “that Queenie from [1936’s] Show Boat” for her defining role. Selznick, married to the daughter of the most powerful man in Hollywood — MGM head Louis B. Mayer — had paid a staggering $50,000 for the rights to Margaret Mitchell‘s 1936 novel. The NAACP made no secret of its disdain for the book’s frequent utterance of the N-word (by then banned by the Hays Code), its sympathetic Ku Klux Klan portrayal and its depiction of slaves as participants in their own subjugation.

A shrewd Hollywood player, Selznick used his status as a Jewish-American bearing witness to the Nazis’ rise when he wrote to Walter White, NAACP executive secretary: “I hasten to assure you that as a member of a race that is suffering very keenly from persecution these days, I am most sensitive to the feelings of minority peoples.” Selznick pledged to omit offending material, though he fought to keep the N-word in the script for historic accuracy. The word, which would have been spoken by Mammy, never appears in the movie, leading some historians to theorize that McDaniel refused to utter it.

McDaniel — who later wrote in the Sept. 29, 1947, edition of The Hollywood Reporter, “I have never apologized for the roles I play” — coveted the part but suspected she’d lose it to Louise Beavers of 1934’s Imitation of Life. As Selznick mounted his “nationwide search,” the hunt for Mammy reached a fever pitch. Even first lady Eleanor Roosevelt suggested her own maid. On Jan. 27, 1939, with Selznick having secured the final funding from his father-in-law, McDaniel got the call she’d been waiting for. Her contract paid $450 a week for 15 weeks of shooting. Mammy was hers. And so, too, would be the Oscar.

MUSIC NEWS: Future Claps Back At His Baby Mama Ciara And Says She Didn’t Upgrade A Damn Thing!

future

Future Says Ciara Didn’t Upgrade Him

Let me upgrade you?

We recently reported that Ciara “subliminally” addressed her

split with rapper Future in a new single titled “I Bet.”

Ci-Ci lays it all on the track in the ballad-esque tune with lyrics like:

“I bet you start lovin me, soon as I start lovin someone else
Somebody better than you
I bet you start needing me, soon as you see with someone else
Somebody other than you
And I know it hurts…you know that it hurts your pride
But, you thought the grass was greener on the other side
I bet you start lovin me, soon as I start lovinsomeone else
Somebody better than you”

The singer sings about upgrading the rapper and says he wouldn’t be who he is without her. Well, it looks like Future is firing back and says not so fast ho!

future2

SOURCE

MUSIC NEWS: Michael McDonald Criticizes Kanye West’s Grammys Beck Rant

By Rhonda Nicole

"Dave Koz & Friends At Sea 2013" - Travel Highlight

Shots fired?  Almost everyone has offered their commentary on Kanye West’s latest attempt to pry a well-deserved award from a peer’s hands; at Sunday night’s Grammy Awards, the self-proclaimed “genius” made his way onto the stage for yet another episode of “I’ma let you finish” as an orange-clad and smirking Prince presented Beck with the Album of the Year award.  After the show, Kanye opined that Beck should give his award to Beyoncé (whom Beck beat out in the category) and respect real artistry.

Not so fast, says former Doobie Brothers frontman and multi-Grammy Award winner, Michael McDonald.  In an interview with ESPN Radio’s Dan le Batard, McDonald went in on the hip-hop superstar saying, “When Kanye gets to a point where he can actually put a couple of notes together either vocally or two bars of valid music playing an instrument, then he might have a right to criticize somebody else.”

Since the Grammys, several videos have circulated around the internet showing the multiple times Kanye has offered his awards to someone he felt was more deserving than he.  If nothing else, the clips prove that Ye is practicing what he preaches.  Still, the verdict is still out on whether insisting that other artists follow suit falls under the category of doing too much.

RAP GOSSIP: Kat Stacks Caught Begging A Houston Pimp For Airfare

Kat Stacks Houston Pimp

HSK Exclusive – Kat Stacks was recently caught on social media begging a pimp from Houston, Texas, to fly her out to the Lone Star state, for work.

SOURCE

MUSIC NEWS: Mannie Fresh Shares His Thoughts On Lil Wayne’s Issues With Cash Money

Mannie Fresh-Lil Wayne
by
The latest observer to weigh in on the situation is former Cash MONEY producer Mannie Fresh. The board master for hit records like “Tha Block Is Hot” and “Go D.J.” believes Wayne is being creatively stifled by the label. According to Fresh, Weezy wanting to branch out musically from the YMCMB camp may play a factor in his desire to cut ties.
“I think he’s going — real talk — ‘I could probably use Drake and Nicki, but I’ve done that so many times,’” said Mannie. “Let’s get out there and do things so I can show that I am bigger than life.”

Wayne’s list of career collaborations includes working with many industry heavyweights. His catalog features cuts with Jay Z, Eminem, Bruno Mars, Destiny’s Child, and OutKast. But Fresh still thinks Wayne is missing that huge crossover joint effort that would solidify his status as one of the elite artists on the planet.

“Wayne has given us some great albums, but he has never given us that album with like a Justin Timberlake on it – with features where like, OK, this is what we expect from an artist of your caliber,” Mannie stated. “If I did do a song and I got Justin Timberlake on it, I got Justin Timberlake fans as well. I think Wayne is starting to see it in that way. Hip Hop can only bring you so far.”

SOURCE

NEWS: ‘Empire’ Dominates Ratings Game, Becomes TV’s Most Popular Show On Wednesday Nights

The Urban Daily

empire taraji p henson terrence howard

After Fox renewed Empire for a second season after airing just two episodes, here’s some more confirmation that the series is a quick hit: as of last Wednesday’s third episode, Empire is officially the most popular show on Wednesday evenings among viewers under 50.

According to Vulture, the Taraji P. Henson and Terrence Howard-led drama saw a spike of more than half-a-million viewers between its second and third episodes with the numbers peaking at 10.9 million same-day viewers last week. Very few shows put up bigger numbers in the week after its premiere, but Empire is apparently still on the rise nearly a month in.

Taraji P. Henson’s comedic spat with 50 Cent about the show doesn’t seem to have hurt the ratings one bit, and with the soundtrack selling (and streaming) strong on its own, it looks like Empire will be with us for a while.

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