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

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.

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 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!



MUSIC NEWS: Drake & Tyga Trade Shots

Drake Tyga Beef

Drake dropped a mixtape today, titled “If You’re Reading This It’s Too Late,” and on track 17, titled: “6PM In New York” the Canadian rapper lashes out at West Coast rapper, Tyga.

Here’s what Drake rhymes:

“I heard a lil lil homie talking reckless in Vibe/
Quite a platform to chose, you should of kept it inside/
Oh you tried, it’s so childish calling my name on the world’s stage/
You need to act your age and not your girls age.”

Soon afterTyga hopped on twitter and fired back:

“Drake u still a b*tch. All that sneak dissing is weak.
Just pull up. I know where u live and u know my address…
U been ducking the fade.”


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.

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

Mannie Fresh-Lil Wayne
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.”


MUSIC NEWS: 57th Annual Grammy Award Winners


The 57th annual Grammy Awards are in full swing tonight and is set to air on your television sets at 8PM EST.

Tonight, a few heavy weights face off in multiple categories, including Drake vs. Kendrick in Best Rap Performance (Kendrick came out victorious), Kanye, Nicki & Kendrick for Best Rap Song and the most controversial one: Best Rap Album – an award in which Iggy Azalea is predicted to snatch up. Edit We were proven wrong as Eminem picked up the award for Best Rap Album.

Congrats to K. Dot for grabbing not one, but two Grammys tonight – beating out peers like Kanye West, Drake and Eminem. Well deserved, considering last year’s snub.

Keep checking back with us for more coverage as the rest of the evening’s events unfold, including performances.

Best R&B Performance

“Drunk In Love” – Beyoncé (Feat. Jay Z) Winner
“New Flame” – Chris Brown (Feat. Usher & Rick Ross)
“It’s Your World” – Jennifer Hudson (Feat. R. Kelly)
“Like This” – Ledisi
“Good Kisser” – Usher

Best R&B Song

Beyoncé – Drunk In Love f. JAY Z Winner
Usher – Good Kisser
Chris Brown – New Flame f. Usher & Rick Ross
Luke James – Options (Wolfjames Version)
Jhené Aiko – The Worst

Best R&B Album

Bernhoft – Islander
Aloe Blacc – Lift Your Spirit
Toni Braxton & Babyface – Love, Marriage & Divorce Winner
Robert Glasper Experiment – Black Radio 2
Sharon Jones & The Dap-Kings – Give the People What They Want

Best Rap Performance

Childish Gambino – 3005
Kendrick Lamar – i Winner
Drake – 0 to 100 / The Catch Up
Eminem – Rap God
Lecrae – All I Need Is You

Best Rap/Sung Collaboration

Common – Blak Majik f. Jhené Aiko
Eminem – The Monster f. Rihanna Winner
ILoveMakonnen – Tuesday f. Drake
ScHoolboy Q – Studio f. BJ the Chicago Kid
Kanye West – Bound 2 f. Charlie Wilson

Best Rap Song

Nicki Minaj – Anaconda
Kanye West – Bound 2
Kendrick Lamar – i Winner
Wiz Khalifa – We Dem Boyz
Drake – 0 to 100 / The Catch Up

Best Rap Album

Iggy Azalea – The New Classic
Childish Gambino – because the internet
Common – Nobody’s Smiling
Eminem – The Marshall Mathers LP 2 Winner
ScHoolboy Q – Oxymoron
Wiz Khalifa – Blacc Hollywood

Best Music Video

Sia – Chandelier
Arcade Fire – We Exist
DJ Snake & Lil Jon – Turn Down For What
Pharrell Williams – Happy Winner
Woodkid – The Golden Age f. Max Richter

Best Pop Solo Performance

“All of Me” (Live Version), John Legend
“Chandelier,” Sia
“Stay With Me,” Sam Smith
“Shake It Off,” Taylor Swift
“Happy,” Pharrell Williams Winner


RAP GOSSIP: K.Michelle’s Groupie Claims He Smashed & Smelled Fish & Chips!

K. Michelle Smelly Cat

 HSK Exclusive – K. Michelle has a groupie named Rashad, claiming that the Love ‘Em’ All lyricist mid-section smells like fish and chips.

A Washington D.C. man is saying he recently had a one night stand with the singer/reality star and ended up disappointed.

Here’s what Rashad posted on the internet about K. Michelle:

“I attended the opening of club Bliss in D.C. the other night only because I wanted to see if K. Michelle, ass was as big in person as it looked on television. When I got in the club it was late and she was already in the VIP section with her crew.

She stood up to make an announcement and I move through crowd to get to her and I had a rose in my hand and I raised it in the air. She was talking about safe sex and paychecks. She noticed me and I said “Hi my sweet.”

She took the rose and told her security guard to let me in her section. Once as I got in VIP she asked me “What’s my name?” I replied “Rashad” she didn’t say anything else before she was about leave the club and asked “If I had a girl to get home to?” I told her I was single, but I wanted to taste her p*ssy.

She looked at me shocked but smile and gave me her phone number and told me “Call me in an hour.” Security escorted her out the club. An hour later I called her and she told me which hotel she was staying at. I drove over expecting to just fuck but what I got was something I’d never imagine.

I knocked on her room door and she yelled “Come in” there was music playing but I smelled the aroma of fish. I thought she was eating but she walked out the bathroom in a robe. I walked over and smiled and she gave me a hug and I untied her robe. My eyes got big as I saw her t*tties. They were big and hard.

Her stomach looked like a Kangaroo pouch but I didn’t mind. I could’ve been worse. It was that ass I interested in. It was big and soft although her legs were knock kneed and small. She was built like a centaur but I was all good. Because I was about to get my nut.

She asked me if I had a condom? I replied “Yes” and I asked if I could eat her pussy? she said “Yes.” I wanted her to ride my face. So, I picked her up but I immediately put her back down. Her p*ssy smelled so strong! P*ssy smelled like fish and chips! She asked me “What’s wrong?” I replied “Let’s f*ck.”

Yeah! I hit it even though it was stank. We f*cked for about 20 minutes and I busted on her ass. She told me she comes to town often and told me to hit her up. I blocked her number when I got to my car.

I could see why she can’t keep a man!”


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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