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Michelle Obama Cool and Classy

“Tiger” Woods Don’t hate the player!

What is Art?

The New America

Food Trends

Henson and Henson Publishing

Technology in Entertainment

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Articles inside this issue 3

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Michelle Obama – Cool and Classy “Tiger” Woods Don’t hate the player, Love the game! What is art? Unsimulated sex in Film

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HD video vs. 35mm film

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Kate Winslet

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Love in film

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Church Gone Wild

44 The Ulmer Scale's …….Top 10 Lists 45 Honey, They …….Shrunk My Value 49

….. 9 Food Trends - What you think you like ….. 11 The New America ……After 10 years of ……change 14 The Inkwell

… 20 The New American ……Couples

Celebrity marriages of “convenience”

32 Age Fabrication ……….. 33 Amazon.com and …….music 35 Robert L. Johnson ……and the billion dollar ……BET

Editor-In-Chief Stanley V. Henson, Jr.

SUBSCRIBE TODAY! 2 Henson and Henson Publishing


Michelle Obama When people ask Michelle Obama to describe herself, she doesn't hesitate. First and foremost, she is Malia and Sasha's mom. But before she was a mother — or a wife, lawyer, or public servant — she was Fraser and Marian Robinson's daughter. The Robinsons lived in a brick bungalow on the South Side of Chicago. Fraser was a pump operator for the Chicago Water Department, and despite being diagnosed with multiple sclerosis at a young age, he hardly ever missed a day of work. Marian stayed home to raise Michelle and her brother, Craig, skillfully managing a busy household filled with love, laughter, and important life lessons. A product of Chicago public schools, Michelle studied sociology and African-American studies at Princeton University. After graduating from Harvard Law School in 1988, she joined the Chicago law firm Sidley & Austin, where she later met the man who would become the love of her life. After a few years, Michelle decided her true calling lay in encouraging people to serve their communities and their neighbors. She served as assistant commissioner of planning and development in Chicago's City Hall before becoming the founding executive director of the Chicago chapter of Public Allies, an AmeriCorps program that prepares youth for public service.

Michelle Obama greets Queen Elizabeth

In 1996, Michelle joined the University of Chicago with a vision of bringing campus and community together. As associate dean of student services, she developed the university's 3


first community service program, and under her leadership as vice president of community and external affairs for the University of Chicago Medical Center, volunteerism skyrocketed. As First Lady, Michelle Obama looks forward to continuing her work on the issues close to her heart — supporting military families, helping working women balance career and family, and encouraging national service.

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Don’t hate the player, love the game

!

Tiger Woods Tiger Woods is being judged as though he was a religious leader or politician. In reality he is best seen in the category with Hugh Hefner or James Bond… a Playboy and athlete. Tiger woods is arguably one of the most recognizable icons in the world. Not only is he the best golfer in history, the wealthiest athlete in history, he is probably the easiest to fall prey to a financial shake down. Writing checks to his wife in the seven-figure range, paying Gloria Allred’s client a million bucks or more, and editing his pre-nuptial agreement make him look like the biggest fool in the universe. Why does America obsess so much with the personal life of celebs? Tiger does not owe anyone a thing but, a good golf game and even that is his choice to give. America is becoming too judgmental and sensitive. This generation of America are the clones of Jerry Springer. They are ready to attack anyone that makes a mistake accept themselves. I never really followed Tiger Woods and I could care less that he loved a lot of women. I was more interested in Cher’s daughter getting a sex change than Tiger getting laid. I think America needs to get a life and give CNN, TMZ and The View a rest. Tiger Woods partners in crime were Michael Jordan and Charles Barkley. He is now the latest in the “Take down” system created by cable media. The hall of fame includes, O.J. Simpson, Barry Bonds, Michael Jackson, Martin Luther King and Kobe Bryant. Somehow Phil Spector, Robert Blake and John Travolta get a pass on bad press. 5


What is art?

Unsimulated sex in film

The depiction of unsimulated sexual acts in mainstream cinema was at one time restricted by law and self-imposed industry standards such as the Motion Picture Production Code. Films showing explicit sexual activity were confined to privately distributed underground films, such stag films, or "porn loops". Beginning in the late 1960s, mainstream cinemas began pushing boundaries in terms of what was allowed on screen. Although the vast majority of sexual situations depicted in mainstream cinema are simulated, on rare occasions actors engage in real sex. The difference between these films and pornography is that, while such scenes might be considered erotic, the intent of these films is not solely pornographic. Notable examples include two of the eight Bedside-films and the six Zodiacfilms from the 1970s, all of which were produced in Denmark and had many real sex scenes, but were nevertheless considered mainstream films (they all 6


had mainstream casts and crews, and premiered in mainstream cinemas). The last of these films, Agent 69 Jensen i Skyttens tegn, was made in 1978. From the end of the 1970s until the late 1990s it was rare to see hardcore scenes in mainstream cinema, but this changed with the success of Lars von Trier's Idioterne (1998), which heralded a wave of art-house films with explicit content, such as Romance (1999), Baise-Moi (2000), Intimacy (2001), Vincent Gallo's The Brown Bunny (2003), and Michael Winterbottom's 9 Songs (2004). The Criterion Collection version of Nagisa Oshima's controversial "In the Realm of the Senses" that came to DVD and Blu-ray this week is listed on Criterion's website as running 108 minutes long. That number corresponds with the length of the film's "original version" given by IMDb, though the site also lists a 109-minute version from the U.K., a 107-minute version from Australia, and a 98-minute version from Argentina. There seems to be a different cut for every country that's willing to show the film (unlike its native Japan, where it remains banned). The movie is almost an indecency Rorschach test -- it'd be fascinating, if a little horrifying, to compare all the different cuts side-by-side, to see what each culture found unacceptable by its moral standards. (By the way, IMDb does not mention a 95-minute cut, which is the length of the film on the previous DVD edition from Fox Lorber that's currently available from Netflix). So what's the big deal? Oshima's film was made in 1976, relatively late in the decade's wave of art films that dared to explore sexuality seriously -- "Last Tango in Paris" and its notorious butter scene, for instance, came out four years earlier. One key difference, though, between "Senses" and most of its predecessors, was its degree of explicitness. Some of the sexual acts between stars Eiko Matsuda and Tatsuya Fuji were simulated, but some were not. Nowadays, unsimulated sexual activity between actors in a non-pornographic movie isn't all that uncommon; in just the last few years, the technique's been employed in films like "The Brown Bunny," "9 Songs," "Short bus," "Ken Park" and "Anatomy of Hell." But back in 1976, the line between pornography and art films with real sex was a bit fuzzier; or at the very least, the fact that there could be a distinction between pornography and an art film with real sex was a serious discussion. The inexorable march of time and the accumulated effect of several decades' worth of subsequent envelope-pushing cinema has neutered the impact of 7


"Senses," at least on a graphic level. Some of it remains skeezy -- personally speaking, I do not need to see a woman stick an egg in her vagina, but maybe that's just me -- yet little of it remains offensive. What ability the film has today to shock audiences has as much to do with the emotional implications of the story as its more detailed imagery.

Actress Georgianna Robertson from the film “Rise above the silver and gold� from Director Stanley V. Henson, Jr.

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Food Trends: of this generation

Chicken and Waffles

Hot Dogs

Sushi

Pizza

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Hamburger

Calamari

A Wrap

Pulled Pork Sandwich

Drink Trends

Red Bull

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Vitamin Water

Mocha Coffee


THE NEW AMERICA

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The President of the United States Barack Obama The First Lady of the United States Michelle Obama

The Media General Oprah Winfrey The Greatest Performer Ever!!! 12


Michael Jackson

The Pop Mega Star Beyonce Knowles

The Brand of the Decade The George Foreman Grill

photo: AP Photo/Kirsty Wigglesworth

Best in Tennis Venus and Serena Williams Tiger Woods

Icon Actress Halle Berry Best in Golf

Top Box office Actor Will Smith 13


The Inkwell A Community on Martha's Vineyard Is Summer's Home for Elite Blacks

Published Friday, August 21, 2009 7:44 AM by BlackAmericans.com

Here, black women with skin tightened by the sea salt wear diamonds casually with bathing suits. And pampered black children run through the seaweed and splash in the cold water of the "Inkwell," a town beach. Black men with trim gray beards carry about them that understated pride that comes with accomplishment. Oak Bluffs, an integrated village on the island of Martha's Vineyard, has been called the Black Hamptons, a place where for generations black people have owned cottages and pastel Victorian houses with wide porches and screen 14


doors that slap in the wind. And fine retreats perched on cliffs with panoramic views of the blue coast where Washingtonians gather, invited to exclusive dinner parties where ice clinks in cocktail glasses. And philanthropic meetings of the famed Cottagers, an exclusive group of black women property owners who require members to summer here for at least four weeks consecutively. "Once you sell," one woman says, her make up perfect, "you are out." On this island, a choppy one-hour ferry ride from Providence, R.I., America's black privileged class has come for at least four generations to find respite. Doctors, lawyers, artists, writers, business owners, professors and now a president. Those who have risen to the top of their professions come to escape the stress of breaking glass ceilings. Get away from the sting and splinters. That feeling of being the only black person on the job, or in a meeting or in a neighborhood. Get away from translating blackness in a majority culture. Rest for the upwardly mobile. "We have all the opportunity to vacation anywhere else, but when I have my two or three weeks I come to the Vineyard where I can relax with other African Americans," says Louis Baxter, a doctor from New Jersey. He is sitting on the seawall overlooking the Inkwell, a famed stretch of sand some say was named by Harlem Renaissance writers who came to the Vineyard and found inspiration near the water and thus named the beach that was once segregated from the white beach. Some people don't like the name and its connotation. But the name has lasted all these years. The sound's water laps, its cold rhythm beating against the rocks.

"It gives us an opportunity to network with other upwardly mobile African Americans," Baxter says. "We love bringing our children here. They can see if you work hard, get a good education, you can partake of the American dream." Janice Queen, 63, a program analyst from Prince George's County, has taken her family all over the world on cruises, but she comes here for peace, a family atmosphere: "I could bring them here to the Inkwell and they could stay as long as they wanted. And there is no fear of anybody bothering them." This is a picture of black America few people see: moneyed black families at leisure. Oak Bluffs, one of the six towns on Martha's Vineyard, has a year-round population of 3,713 people, according to the latest data released by the Martha's Vineyard Commission. Ninety-one percent of Oak Bluffs' population is white; 3.5 percent is Native American; and 2.5 percent is black, according to town figures. (The summer population of the island swells to about five times the year-round population, but there is no racial breakdown of the seasonal population, a town official said.) Oak Bluffs, once a Methodist summer retreat where anti-racism sermons were preached, has drawn blacks since the 1800s. Some came as servants to wealthy white families. Others worked in the hotels. Eventually, elite blacks from New York, Boston and Washington retreated here for summer vacations, many buying houses in an area they called the Oval or the Highlands, which Harlem Renaissance writer Dorothy West wrote about toward the end of her career in her 1995 novel, "The Wedding."

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"They formed a fortress, a bulwark of colored society," West wrote. "Their occupants could boast that they, or even better their ancestors, had owned a home away from home since the days when a summer hegira was taken by few colored people above the rank of servant."

teachers, the children of teachers became doctors and lawyers. The Obama’s have rented an estate in Chilmark, about 12 miles up the island from Oak Bluffs. They are scheduled to arrive Sunday. It is assumed the Obama’s will pay a visit to Oak Bluffs.

Adam Clayton Powell Jr. owned a cottage in the Oval, where his wife, Isabel, served her famous bloody marys. Arctic explorer Matthew Henson was a guest there. Down the road is West's cottage, and farther down the road is Shearer Cottage, an inn built by a Charles Shearer, the son of a slave and a slave master. Shearer built the inn to provide lodging for blacks during segregation, including Madame CJ Walker, an early self-made millionaire; singers Paul Robeson, Ethel Waters and Lillian Evanti; and composer Harry T. Burleigh.

Old Money

Oak Bluffs still encompasses one of the country's oldest circles of black wealth and power. Edward M. Brooke, the first black senator elected since Reconstruction, and Martin Luther King Jr. summered here. Spike Lee owns a house here. White House senior adviser Valerie Jarrett summers here, as does Vernon Jordan, former adviser to President Clinton. It is a destination of the rich, whether they call it that or not. Most people just say it is a magical island with down-to-earth people from all walks and tsk-tsk at all the talk about the black elite. You wonder whether that isn't New England modesty. Because, in reality, anybody who makes it here has to have reached a certain status in life and has the luxury of leisure time in a recession, can take weeks to vacation by the sea, might have at least two houses even if it's a house a grandmother bought generations ago when she arrived as a domestic. Each generation produced children who climbed into another social class -- the daughters of maids became 16

There is a social stratification here that is hard to discern in the salt air. But it's here just as sure as the water is cold. It was a place where beautiful black people vacationed. The women with red lipstick and Lena Horne hair looking out from old photographs, each woman more striking than the next. The men in pinstripe suits. Adam Clayton Powell, “King of the Cats," with his hair tossed back. Here you can watch gradations of class. A subtle thing. Unspoken. It is a place where summer becomes a verb, as in: "Where do you summer?" And by inference, winter becomes a verb as you politely ask, "Where do you winter?" And they answer, New York, Boston, Philadelphia, Washington, D.C. The answers are clear and precise. Not like that of the man on the bus back in Providence who explains life on the other side of the water with regular folks: "I don't roll like that," says Michael Lucas, 43. "I have to summer and winter in the same place just to keep my lights on." On the Vineyard, you know people who arrive here have arrived. "You don't get it when you first meet them," says DonnaMarie Peters, a sociology professor at Temple University, who has come here since she was a child. "But when you do, it


will be subtle. A coded word. I live on such and such street. There are many echelons of middle class. There are the new elite and the old elite." And yet Oak Bluffs is not a glitzy place but quaint, with dirt roads, and sea grass and little houses perched on hills with beach plums. Where hotel rooms have pink roses climbing wallpaper and are priced at $300 a night. Where gingerbread cottages at the Methodist campground are painted pink, purple or sea-foam green like in a fairy tale and might cost more than a million. Lawrence Otis Graham explained this kind of social stratification in his book, "Our Kind of People: Inside America's Black Upper Class." "All my life, for as long as I can remember," Graham wrote, "I grew up thinking that there existed only two types of black people: those who passed the 'brown paper bag and ruler test,' “meaning lighter skin and straight hair, "and those who didn't. Those who were members of the black elite. And those who weren't. . . . There was us and there was them. There were those children who belonged to Jack and Jill and summered in Sag Harbor; Highland Beach; or Oak Bluffs, Martha's Vineyard, and there were those who didn't." Oak Bluffs, Sag Harbor, Idlewild in Michigan -- which was called the "Black Eden" -- and Highland Beach are historically black vacation resorts built during the era of racial segregation. Highland Beach, in Maryland, was created by Frederick Douglass and members of his family. "A lot of very early African American property owners in Oak Bluffs were apparently domestic servants of whites who vacationed in the areas. They had been exposed to the area. They liked the

area and they bought land there," said Portia James, curator of "Jubilee: African American Celebration," an exhibit at the Smithsonian's Anacostia Community Museum. "There was a time when those cottage owners who were black numbered less than a dozen -- indeed it was a gala summer when that number was achieved," Dorothy West wrote in 1969 in the Vineyard Gazette. "Their buying power made almost no ripple in the island's economy, and they, themselves, had no wish to make waves. But they had importance as forerunners. These early vacationists from Boston were among the first blacks anywhere to want for themselves and their children the same long summer of sun and sea air that a benevolent island provided to others who sought it. These first blacks made later generations vacation-minded and islandoriented." Jocelyn Coleman Walton, 70, is standing outside West's gray clapboard home. Walton says her grandmother bought the house next to West's in 1944 for $1,500, and eventually owned a total of eight lots. "My grandmother was biracial," Walton said. "If they thought she was white, she was a salesgirl. If they thought she was black, she ran the elevator. She took on jobs she could have so she could take us here for the summer. Growing up here you didn't get a sense of different class strata. We were all kids hanging out on the beach at the Inkwell." OAK BLUFFS - Gail Rice was jogging near her summer home in East Chop, on the northern tip of Martha’s Vineyard, a few years ago when she passed a tall, thin African-American man gazing at the water. He looked familiar. Isn’t that the politician, she wondered, who had electrified the Democratic National Convention in 2004? It was, but he hardly stood out on an island that is a favored getaway for some of the nation’s most 17


notable and accomplished AfricanAmericans.

transaction; the seller didn’t meet her black father until the family moved in.

Nobody, of course, will have any problem recognizing Barack Obama when he returns to the island later this month. But this time, they can just look for his security detail, as it’s a pretty safe bet that if the president of the United States, who will be renting a secluded up-island retreat in Chilmark, is standing beside a public road, he won’t be standing alone.

Today, the island, like society itself, is more open and more people of color have the means to move beyond the cottage colonies that formed the community’s first foothold here. Yet Oak Bluffs remains the heart of African-American life on Martha’s Vineyard. This is where filmmaker Spike Lee, Harvard professor Henry Louis Gates, former US Attorney Wayne Budd, and Obama friend and advisor Valerie Jarrett vacation. This is where the striving, as well as the already arrived, come to unwind in the comfort and company of the like-situated. This is where generations return year after year for reunions of family and old friends. People run into each other along Circuit Avenue or on the post office plaza or at the so-called “Inkwell’’ beach beside the road to Edgartown.

If Obama’s historic election marks an evolution of race relations in this country, then so, too, albeit on a smaller scale, does that moment on East Chop Drive. Rice and her husband, who are both African-American, own a stately house on an elegant stretch of waterfront road in an area of town once frosty, if not closed, to African-American buyers. When Harvard Law School Professor Lani Guinier’s family purchased a nearby home in 1972, her white mother conducted the

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by Irene Sege Globe Staff / August 15, 2009


Still I Rise by Maya Angelou You may write me down in history with your bitter, twisted lies, You may trod me in the very dirt But still, like dust, I'll rise. Does my sassiness upset you? Why are you beset with gloom? 'Cause I walk like I've got oil wells pumping in my living room. Just like moons and like suns, with the certainty of tides, just like hopes springing high, still I'll rise. Did you want to see me broken? Bowed head and lowered eyes? Shoulders falling down like teardrops. Weakened by my soulful cries. Does my haughtiness offend you? Don't you take it awful hard 'Cause I laugh like I've got gold mines Diggin' in my own back yard. You may shoot me with your words, You may cut me with your eyes, You may kill me with your hatefulness, But still, like air, I'll rise. Does my sexiness upset you? Does it come as a surprise That I dance like I've got diamonds At the meeting of my thighs? Out of the huts of history's shame I rise Up from a past that's rooted in pain I rise I'm a black ocean, leaping and wide, Welling and swelling I bear in the tide. Leaving behind nights of terror and fear I rise Into a daybreak that's wondrously clear I rise Bringing the gifts that my ancestors gave, I am the dream and the hope of the slave. I rise I rise I rise.

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The New American Couples

Seal and Heidi Klum Bill Bellamy and wife Kristen Baker

Robert Deniro & Grace Hightower Tiger Woods and his wife Elin 20


Khloe Kardashian and husband Lamar Odom

Ellen Pompeo (Grey’s Anatomy) and husband Chris Ivery

Rick Fox and Kristen Davis (Sex in the city)

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Kim Kardashian and Reggie Bush Kobe Bryant and wife Vanessa

Taye Diggs and wife Idina Menzel Emma Bunton & Jade Jones 22


Eva Longoria & Tony Parker

Ice T and wife Coco

Wolfgang Puck & Gelila George Lucas and wife Mellody Hobson

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Roger Ebert & wife Chaz Hammelsmith

Hank Basket and wife Kendra

The New American love affair is diverse!

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HD VIDEO vs. 35mm FILM

Aspiring filmmakers are quite lucky compared to years ago. Today, you can make a movie in just about any format and still be taken seriously, assuming that you have a great story and reasonably good production values. As mentioned, The Blair Witch Project is one of the most successful independent features ever made, yet it was shot with a consumer video camera (non-digital). Prior to the digital revolution of the 1990s, things were a lot different. If the movie was shot on a format other than 35mm, it did not stand a chance of being distributed. 16mm was not taken seriously and video was a joke. These standards were so ingrained in the industry, that even actors were reluctant to work on non-35mm shoots. 25


All that has changed now. Affordable, high-quality digital cameras have democratized the industry. Still, 35mm film is the standard by which all video formats are judged.

This is the argument most film purists use. The truth is, pixels are not the way to compare resolution. The human eye cannot see individual pixels beyond a short distance. What we can see are lines.

Has video reached the same quality level as 35mm? Old school filmmakers say "no" because the image capturing ability of 35mm is a "gazillion" times greater than video. Is this really the case? Let's take a closer look. The truth may surprise you.

Consequently, manufacturers measure the sharpness of photographic images and components using a parameter called Modulation Transfer Function (MTF). This process uses lines (not pixels) as a basis for comparison. Notice the lines in this resolution chart:

Note: the study below is based on classic HD with 1080 lines of horizontal resolution. In 2007, the first ultra HD camera was introduced featuring an amazing 4,520 lines. Keep that in mind while reading! Comparison There are two factors that can be compared: color and resolution. Most casual observers will agree that, assuming a quality TV monitor, HD color is truly superb. To avoid a longwinded mathematical argument, let's accept this at face value and focus on comparing resolution, which is the real spoiler. Resolution is the visible detail in an image. Since pixels are the smallest point of information in the digital world, it would seem that comparing pixel count is a good way to compare relative resolution. Film is analog so there are no real "pixels." However, based on converted measures, a 35mm frame has 3 to 12 million pixels, depending on the stock, lens, and shooting conditions. An HD frame has 2 million pixels, measured using 1920 x 1080 scan lines. With this difference, 35mm appears vastly superior to HD.

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Part of a Standard Resolution Chart Since MTF is an industry standard, we will maintain this standard for comparing HD with 35mm film. In other words, we will make the comparison using lines rather than pixels. Scan lines are the way video images are compared, so it makes sense from this viewpoint, as well. HD Resolution As discussed previously, standard definition and high definition refer to the amount of scan lines in the video image. Standard definition is 525 horizontal lines for NTSC and 625 lines for PAL. Technically, anything that breaks the PAL barrier of 625 lines could be called high definition. The most common HD resolutions are 720p and 1080i lines.


35mm Resolution There is an international study on this issue, called Image Resolution of 35mm Film in Theatrical Presentation. It was conducted by Hank Mahler (CBS, United States), Vittorio Baroncini (Fondazione Ugo Bordoni, Italy), and Mattieu Sintas (CST, France). In the study, MTF measurements were used to determine the typical resolution of theatrical release prints and answer prints in normal operation, utilizing existing state-of-the-art 35mm film, processing, printing, and projection. The prints were projected in six movie theaters in various countries, and a panel of experts made the assessments of the projected images using a well defined formula. The results are as follows: 35mm RESOLUTION Measurement

Lines

Answer Print MTF

1400

Release Print MTF

1000

Theater Highest Assessment

875

Theater Average Assessment

750

Conclusion As the study indicates, perceived differences between HD and 35mm film are quickly disappearing. Notice I use the word "perceived." This is important because we are not shooting a movie for laboratory study, but rather for audiences. At this point, the typical audience cannot see the difference between HD and 35mm. Even professionals have a hard time telling them apart. We go through this all the time at NYU ("Was this shot on film or video?"). Again, the study was based on standard HD with 1080 lines of horizontal resolution. We now have ultra HD with 4,520 lines. Based on this, the debate is moot. 16mm, 35mm, DV, and HD are all tools of the filmmaker. The question is not which format is best.

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Kate Winslet

Kate Winslet the British actress - who is married to 'Revolutionary Road' director Sam Mendes - has defended her choice to appear nude in some of her movies, insisting Sam doesn't mind her stripping off if it "enhances" the film. Kate Winslet says she is "not a porn star". The British actress - who is married to 'Revolutionary Road' director Sam Mendes - has defended her choice to appear nude in some of her movies, insisting Sam doesn't mind her stripping off if it "enhances" the film. She said: "Of course Sam doesn't get jealous. I'm not a porn star. I'm not walking out there and actually having sex with other people for my job. He doesn't get jealous at all, not in the slightest. It's really not a big deal. "I feel that any level of nudity in films that I have been a part of has been absolutely relevant and actually enhanced the story." Kate recently revealed she struggled with her nude scenes in new post-war drama 'The Reader'. She said: "It really took me to the brink in many ways. To bring my character Hanna Schmitz to life was an absolutely enormous challenge and a huge responsibility as well, because it's a much-loved piece of German literature. Many people have differing opinions of Hanna Schmitz - they love her, they loathe her."

Steven Barnes is a science-fiction novelist, screenwriter and blogger based in Covina, Calif. His 20th novel, Great Sky Woman, is published by Random House/One World. 28


No Need to Apply

Love in Film

.

If you go to IMDB.com, the Internet Movie Data Base, you'll find a disturbing statistical blip. Of the roughly 350 films that have earned more than $100 million, about 50 of them have love scenes. You know the drill: Boy kisses girl, they sink together onto a bed, more kissing and touching, fade to black. From PG through R, from Bond through Basic Instinct, you'll find such scenes in about 15 percent of the most popular films ever made. And every single one features a white guy. If you scan the same list for American films with nonwhite leads (again, there are about 50), you'll find love scenes in zero percent. That's right, zero. No blacks. No Latinos. No Asians. Hollywood makes such films; you can find them further down on the list. But America won't watch them.

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Films such as “The Reader” with Kate Winslet, “Short Bus”, and Monster’s Ball” are rejected by most black actresses. Halle Berry is half white! Does that give her an open mind? Most black actresses consider themselves artist but, refuse to accept the fact that art contains nudity in sculpture, paintings and film. It appears that black actresses are in the business for business…. For money and vain glory. Could that be why so few have won an Oscar? Can white actors and actresses that vote during Kate Winslet - The Reader

the Oscar’s see through the fear of true art in the black actors and actresses? Black actors are seldom seen making love on screen, having babies, nude or having functional conversations. We are seen selling drugs, killing, arguing and clowning. It is ironic that when we see a love scene with a black woman, it is with a white man (Monster’s Ball, Soaps) or with another woman. (The Color Purple). Spike Lee is the only film director that attempted to change this image. Look at this list:

Chloe Sevigny - Brown Bunny

Selma Blair - Storytelling (great movie as well)

Katie Holmes - The Gift

Tiffany Limos - Ken Park Rosario Dawson - Alexander

Amanda Peete - she's been nude a few times but def in Whole Nine Yards

Halle Berry - Monster's Ball

Naomi Watts - Muholland Drive

Angelina Jolie - IN ANYTHING

Marisa Tomei – The Wrestler

Eva Green - The Dreamers

Natalie Portman in "Hotel Chevalier" The acclaimed actress gets cheeky when she drops her drawers for this short film that's a companion piece to "The Darjeeling Limited."

Asia Argento - Scarlet Diva Salyma Hayek - Frida Elizabeth Berkeley - Showgirls (I love this movie...It's Vercas) Diane Lane - Unfaithful Charlize Theron - I'm pretty sure she shows some skin in Devil Advocate...can't

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Christina Ricci in "Black Snake Moan" - Her skimpy top can't contain her talent in this Southern gothic potboiler, even if she is chained to a radiator. Sienna Miller in "Factory Girl" Twenty-one minutes into the film about Andy Warhol's muse, Miller soaks naked in a tub.


Roselyn Sanchez in "Yellow" -The actress' character just wants to be a Broadway dancer, but of course, must strip in order to get there.

Ashley Judd in "Bug" - Mental illness, gasoline and frontal and dorsal nudity.

Malin Ackerman in "The Heartbreak Kid" - An acrobatic sex act opposite Ben Stiller allows this actress to show off more than just her flexibility.

Olivia Wilde in "Alpha Dog" - Three other actresses show skin, including Amanda Seyfried ("Mean Girls") for a skinny-dipping adventure, but Wilde got the mention for her motel tryst.

Eva Mendes in "We Own the Night" Very early into the film, the starlet shows one reason why she deserves to be on this list. Yep, just one, but it's a compelling one.

Ana Claudia Talancon in "Alone with Her" - A peeping Tom's use of hightech spying gadgetry pays off many, many times, including once with a steamy shower.

Lena Headey in "300" - Sure, the men got to show off their abs, but Headey shows she's no slouch in the skin department during a poetic love scene.

Danielle Harris in "Halloween" - More skin than the original.

Stormy Daniels and Nautica Thorne in "Knocked Up" -Lap dancers in Vegas give the main character and his pal an eyeful up close and personal. Alexa Davalos in "Feast of Love" Selma Blair and Radha Mitchell also get naked, but it's Davalos' full frontal that makes her stand out. Chelan Simmons in "Good Luck Chuck" - Seven different women take off their tops for the camera, including the "Kyle XY" cutie.

Heather Matarazzo in "Hostel: Part II" If you like your nudity disturbing, bloody and hung upside down, this is the movie for you. Amber Valetta in "The Last Time" This supermodel isn't wearing haute couture or doing runway. Lucy Liu in "Blood Hunter" - Nudity in a vampire flick? Bloody likely! Cameron Richardson and Samaire Armstrong take it off, but it's Liu's topless turn in a lesbian tussle with Carla Gugino.

Wei Tang in "Lust, Caution" - This Ang Lee follow-up to "Brokeback Mountain" takes a while to build up, and then watch out. The Chinese starlet engages in lots and lots of sex to take down a political figure, and her dedication is on display fully from the front and back. 31


“The secret of staying young is to live honestly, eat slowly, and lie about your age� Lucille Ball

Age fabrication, or more simply put, lying about one's age, is usually practiced with the intent to garner privileges or status that would not otherwise be available to the individual. The phenomenon has achieved particular notoriety among actresses seeking to retain the marketability that comes with their association with youth. Age fabrication occurs when an individual deliberately misrepresents his or her true age. This is usually done with the intent to garner privileges or status that would not otherwise be available to the individual. It may be done through the use of oral or written statements or by falsifying official documents (such as altering the archives of vital records or doctoring (or even creating) a birth certificate). Although uncommon in modern Western society, it is still possible for an individual not to know his or her exact date of birth. Such an individual may arbitrarily choose a date of birth which after later research is found to be false. This situation should not be considered age fabrication, however, as there is no obvious intent to deceive on the part of the individual. Age fabrication was once common in the entertainment industry. For example, until the early 1950s in Hollywood it was extremely common for actresses to subtract at least one year from their actual age so that producers and casting directors would be more likely to hire them for roles. On some occasions, age is increased so as to make cutoffs for minimum legal or employable age in show business or professional sports. There are many stories of men lying about their age to join the armed forces, for example to fight in World War I. Sometimes it is not the people themselves who lower their public age, but others around them such as publicists, parents, and other handlers. Using original source material such as birth certificates, marriage licenses, the census, Social Security applications, identity documents and death certificates usually provides the correct date and year. Most cases involve taking or adding one or two years to their age. However, in more extreme cases such as with Al Lewis and Charo, a decade has been added or subtracted. Subtracting time from one's age is often known in English as "shaving", while adding time to one's age may be referred to as "padding".

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Amazon launched music download service Amazon.com Inc. launched its much-anticipated digital music store in 2007; a move analysts said represented the first hint of real competition for Apple Inc.'s market-leading iTunes. Amazon MP3, as the new section of the web retailer's site is called, currently stocks nearly 2.3 million songs, all without copy-protection technology. Shoppers can buy and download individual songs or entire albums. The tracks can be copied to multiple computers, burned onto CDs and played on most types of PCs and portable devices, including the iPod and Microsoft Corp.'s Zune. Songs cost 89 cents to 99 cents US each and albums sell for $5.99 to $9.99 US.

Major music labels Universal Music Group and EMI Music have signed on to sell their tracks on Amazon, as have thousands of independent labels. The company said several labels are selling their artists' music without copy protection for the first time on the Amazon store, including Alison Krauss on Rounder Records and Ani Difranco on Righteous Babe Records. Amazon's store competes with Apple's market-leading iTunes, which is also offering some songs without so-called digital rights management technology, which prevents unauthorized copies from playing.

Although DRM helps stem illegal copying, it can frustrate consumers by limiting the type of device or number of computers on which they can listen to music. Copy-protected songs sold through iTunes generally won't play on devices other than the iPod, and iPods won't play DRMenabled songs bought at rival music stores. EMusic.com Inc., another popular download site, also sells tracks in the DRM-free MP3 format but, like Amazon's store, doesn't offer music from some major labels that still require anti-piracy locks.

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Digital watermark added Bill Carr, Amazon's vice-president for digital music, said it will be up to customers to use the music they buy legally. To help stop music piracy, Carr said some record labels add a digital watermark to MP3 files that indicate what company sold the song, and Amazon adds its own name and the item number of the song, for customer service purposes. He added that no details about the buyer or the transaction are added to the downloaded music file. "By and large, most customers just want a great, legitimate way to buy the music they want," Carr said in an interview Tuesday morning. "What the vast majority of labels believe is that they will sell more music by giving customers what they want ‌ by enabling DRM-free MP3, than by continuing to confuse customers or force them to choose methods that are not legal, because the legitimate alternatives are not good." Carr characterized the

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number of record labels that still insist on copy-protection technology as "a handful." 'Their catalogue is going to suffer' But David Card, an analyst at Jupiter Research, said in an interview that "having two out of four labels doesn't cut it." Warner Music Group Corp. and Sony BMG Music Entertainment, which is owned by Sony Corp. and Bertelsmann AG, have not agreed to sell music on Amazon MP3, and Card pointed out that Universal and EMI have made only parts of their catalogs available without copy protection. "Their catalogue is going to suffer for a while," he said, referring to Amazon. Card said Amazon's entrance into the market represents serious competition for Apple, which can no longer rely solely on the bond between the iPod and iTunes. But, Card said: "In and of itself, [Amazon MP3] isn't enough to change any market share. They have to do a good job at building their store."


R Roobbeerrtt LL.. JJoohhnnssoonn, the black billionaire, is ringside at a charity boxing match here, awash in a sea of white businessmen. A low-key deal maker, he prefers intimate dinners with the likes of Bill Clinton, Harvey Weinstein or John Malone. But tonight he has joined members of the South’s ultra-elite for a quasi-frat party, a swaggering, testosterone-fueled evening featuring hundreds of tuxedo-clad honchos feted with steak and martinis and greeted by scantily-clad hostesses. Mr. Johnson takes to the slugfest as the night wears on, rolling his shoulders to dodge imaginary blows, as if he himself were up against the ropes. Which, perhaps, he is. Mr. Johnson, who founded and then sold the Black Entertainment Television network to Viacom for $3 billion in 2000, is working hard these days to appear as more than just an outsider in Charlotte, where he also happens to own the beleaguered local National Basketball Association franchise, the Bobcats. So far, though, that is pretty much how the locals view him. There may be many reasons why the label of outsider clings to Mr. Johnson, but one easy explanation is that he rarely gives the Bobcats hands-on treatment. As Mr. Johnson tries to recast himself as a mainstream business mogul, his calendar has become very crowded, thanks to a high-powered push to start and buy several companies. That spree has produced a sprawling portfolio of properties, including a hedge fund, a private equity firm, a chain of more than 100 high-end hotels, several commercial banks and savings institutions, a film company and several gambling ventures. And however loudly each of those businesses may clamor for his attention, however boisterously the communities they serve may want more face time with the boss, Mr. Johnson is in no rush to soothe their nerves. “I am not an operational executive anymore,” he says, impatience creeping into his voice. “I run a holding company, and my role is that of a rancher, running herd over a field of cattle. “It’s not just one ball in the air for me now, but lots of them,” he adds. “This is my second act.” As Mr. Johnson zips across the business landscape, trying to defy the aphorism that there are no second acts in American life, his handling of the Bobcats, which he bought in 2003 for $300 million, may provide a crucial litmus test. Mr. Johnson, the first African-American

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owner in a league populated by African-American stars, is intent on using his wealth and celebrity to break down economic and cultural walls that have historically marginalized black entrepreneurs, and to give black executives corner offices in a broad range of industries. So he sees a successful run as the head of a professional sports franchise as an emblematic challenge. For all of that noble sense of purpose, though, Mr. Johnson is a famously flinty loner. His go-it-alone attitude has done little to soften his image among some here as a person simply looking to milk a Southern boomtown. That image, along with a reluctance to pour more money into the Bobcats, has not endeared him to local fans — helping to undermine his fledgling hoops franchise. The basketball legend Michael Jordan, who joined the Bobcats last summer as a minority partner and manager of operations, attributes Mr. Johnson’s strains to the rigors of the learning curve. “Bob is one of the most sophisticated businessmen that I know, but being that he didn’t have any experience in this business, he may have been more tight with the dollars than he should have been,” he says. “But Bob knows now that he’s got to spend, that being successful in professional sports requires a whole different approach. Like me, he’s very competitive and knows how to win.” Mr. Johnson’s attendance at the charity boxing match last month was a good-will gesture toward a city that has rebuffed him by considering him an absentee owner, a carpetbagger of sorts, and labeling the Bobcats as scrubs. Ever indefatigable, he says he has plenty of time to change all that. “We’re still early in this process,” says Mr. Johnson, whose team has a record and attendance that rank near the bottom of the league. “Nobody loses money on an N.B.A. franchise, and I will certainly not be the first.” Bob Johnson has spent at least half his 60 years as a pre-eminent force in African-American pop culture, a shrewd backstage operator who tied a bow around black celebrity and converted urban music, fashion and comedy into the cash cow called BET. While running BET, which he founded in 1980, Mr. Johnson found himself routinely criticized by blacks for showing racy music videos day and night instead of creating original programs with socially uplifting themes. In Mr. Johnson’s pragmatic view, though, music videos were a television executive’s dream: they drew huge audiences and were cheap to put on the air. He reminded naysayers that the “E” in BET stood for “entertainment,” not “education” or “enlightenment.” “My tombstone will read: ‘This is the guy who aired rap videos,’ ” Mr. Johnson says. “But you know how I deal with that? I put it where it belongs, which is in the pretty-much-irrelevant category.” Many blacks lashed out at Mr. Johnson again when he sold BET to Viacom, a mainstream corporate buyer. Mr. Johnson, who has blended a surgeon’s emotional detachment with an accountant’s fixation on the bottom line throughout his career, seems unaffected by those

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barbs as well. He says he is aware that some consider him miserly and emotionally disengaged, but he shrugs that off as the price of success. “I never saw myself as running a family business for family benefit; I always wanted to create businesses that were built on maximizing shareholder value,” Mr. Johnson says. “And my philosophy has always been predicated on the fact that talented African-Americans ought to be given an opportunity to create real wealth in this country, and that white Americans have to allow us to get onto the starting blocks.” For Mr. Johnson, born in Mississippi in 1946 as the ninth of 10 children, the starting block was a grimy factory basement in Freeport, Ill. His mother and father had jobs at the Burgess Battery plant in Freeport, and Mr. Johnson worked there as a maintenance worker one summer while attending the University of Illinois at Champaign. According to “The Billion Dollar BET,” an unauthorized account of Mr. Johnson’s career by the journalist Brett Pulley, Mr. Johnson clashed often with his superiors and was fired. The boot, though, came with some advice. “If you’re going to get a job, you better work for yourself,” his supervisor told him, according to the book. “Working for other people just doesn’t seem to be your cup of tea because you’ve got a unique way of how you want to do things.” After graduation from the University of Illinois, where he met his wife, Sheila Crump (they divorced in 2002), Mr. Johnson studied public administration at Princeton. The couple moved to Washington in the early 1970s, a time when the civil rights movement was opening the door to more black voices in the media. Mr. Johnson worked in various public affairs posts before becoming a lobbyist in 1976 for a cable television trade group. One of the group’s board members was John C. Malone, who was in the early stages of turning his company, Tele-Communications Inc., into one of the nation’s largest cable companies. Mr. Malone and other cable operators were scrambling for programming that would give them an edge over traditional network television giants. Mr. Johnson approached Mr. Malone with the idea of creating a cable channel that catered to audiences in cities with large black populations. “I was like Johnny Appleseed back then, buying up lots of things that fit our model because we needed programming,” Mr. Malone says. “It was great that Bob’s idea had a positive social element to it, but it also fit my model.” Mr. Malone jumped at the idea, and in 1979 invested $500,000 for a 20 percent stake in the newly formed BET. Over the next decade, BET slowly gained traction with black audiences, gradually expanding its air time from a few hours a day to a full weekly schedule, recruiting major advertisers and lining up other strategic partners like the HBO unit of Time Inc. BET’s gospel programs, black college sports, and black news and music gave the channel a solid niche. “We were the unicorn,” Mr. Johnson says. “People were surprised we existed.” In 1991, Mr. Johnson took BET public, making the network the first black-owned company on the New York Stock Exchange. Mr. Johnson retained 56 percent of the voting power in a company with a market value of $472 million, according to Mr. Pulley’s book. Despite that

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success, BET had doubters. “I think the public was very cynical about a black-run and controlled business,” Mr. Malone says. “There were a lot of bodies in the cable industry on the side of the road. The attitude was, ‘Let’s give it a shot, but I don’t expect it to be successful.’ ” To continue attracting larger black audiences without huge investments in content, Mr. Johnson began to rely more heavily on music videos. After all, with ad rates substantially lower than those of rivals like MTV or VH1, the notion of creating high-minded original programming was not financially feasible, Mr. Johnson says. But by the early 1990s, gangsta rap music was gaining cultural prominence and its messages were edgier — and more rife with images of sex and violence — than the R&B music that BET had offered earlier. Many adults were offended, but young viewers loved the stuff. “Bob took a cold view in responding to the market, and the fact was he just didn’t have the financial muscle of an MTV,” says the media consultant Willis Smith, whose firm in Durham, N.C., specializes in black television programming. “He could not afford to offer what many viewers wanted from him. But in the end, he kept BET profitable regardless of what people have said about the quality of his programming.” Mr. Johnson’s most vocal critic was the young black syndicated cartoonist Aaron McGruder, whose “Boondocks” comic strip ran in 250 newspapers nationwide and focused on a couple of brothers transplanted to the suburbs from their inner-city neighborhood. He routinely lampooned BET. One of his most controversial strips featured a woman’s round, nearly nude backside, with text that, among other things, said: “In order to follow the fine example set by Mr. Johnson, we present to you, the reader, in the spirit of black uplift — a black woman’s gyrating rear end.” Some newspapers dropped the strip, and it ignited a public spat between Mr. McGruder and Mr. Johnson. Mr. Johnson declines to discuss the matter, and Mr. McGruder, who no longer writes the strip, was unavailable for comment. By the late 1990s, having regained complete control of BET for himself and Mr. Malone through a stock buyback, Mr. Johnson was ready to move on. The opportunity came when Sumner M. Redstone, the Viacom chairman, offered to buy him out for $3 billion in 2000. “A lot of black people were hurt when he sold BET because we have this history where our entrepreneurs are expected to be emotionally attached to their companies,” says Alfred Edmond Jr., editor in chief of Black Enterprise magazine. “But Bob Johnson has never been one to personalize his relationship to his companies. They are just assets to him, and he prides himself on being able to drive up their value.” However much Mr. Johnson has sought to burnish and enlarge his reputation, his ownership of the Bobcats has resurrected some old criticisms. Like television, the basketball business is driven by ratings, advertisers and talent — and so far Mr. Johnson has stumbled, in large part over issues that have haunted him before: customer complaints about product quality, and accusations of a lack of commitment to the community.

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“There has been a feeling here that Bob — and he is trying to do better — is this rich dude from Washington, D.C., and comes down and buys a franchise and doesn’t even show up here much, not even for games,” says Felix Sabates, a Charlotte businessman and minority shareholder in the Bobcats. But he expects Mr. Johnson will be successful. Mark Packer, a local radio host, says: “In a city like Charlotte, it is important for fans to see the owner, and we don’t see much of Bob Johnson. But even more than that, the product that he is putting on the floor is an inferior product. Over the two and half years he has had this team, he simply hasn’t spent enough money to put a winner on the floor.” The criticism does not end there. Scott Fowler, a columnist at The Charlotte Observer, wrote recently that “thousands of people in our area view the Bobcats with resentment or indifference.” “These folks wouldn’t go to uptown Charlotte to watch a Bobcats game if someone handed them free tickets and pointed to a limousine to take them there,” he added. That’s a hard knock in a sports town where Mr. Johnson’s polar opposite, Jerry Richardson, the white founder of the Carolina Panthers of the National Football League, ferries his fans around in a golf cart. The owner-as-average-guy touch and the Panthers’ success on the field have endeared Mr. Richardson and his team to locals. On the afternoon before the charity boxing match, Mr. Johnson sits in a Charlotte eatery, a few blocks from the Bobcats’ yet-to-be-named coliseum, reflecting on the history of black capitalists in America — a past, he says, that is painfully slight. “The fact is, black people do not have much of a history in creating wealth in this country. As a result, we are not trusted to handle other people’s money,” he says. “We are valued mostly for our physical talent, our artistic talent and maybe our ability to sell to other blacks. But when it comes to building value in companies, or managing the money of whites, overseeing investments, there has always been this discrimination.” He shrugs and stabs his crab cake. “But let’s face it, on the other hand, race discrimination gives me a natural public relations advantage. Because of race discrimination, I can get a pat on the back just for being first,” he says. “That’s how I get the visibility, the first-mover advantage. That’s what I like — to enter the arena first.” Mr. Johnson has just returned from Utah, where he attended the Sundance Film Festival in search of opportunities for Our Stories, a Los Angeles-based film company he started late last year. The trip was bittersweet. While the dearth of black-oriented films at the festival disappointed him, it also solidified his faith in the prospects for his new venture. His partner is the indie-movie mogul Harvey Weinstein, whose own new enterprise, the Weinstein Company, will serve as his distributor. JPMorgan Chase has sunk $175 million into Our Stories.

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“What I like about Bob is that he dreams over the horizon when most people can’t,” Mr. Weinstein says. “This is about an African-American entrepreneur who is starting a blackowned movie studio because he stepped forward and had the expertise to pull it together.” In a sense, the financial model for Our Stories — tapping the resources of mainstream white investors as a means of gaining the economic efficiencies afforded by scale — is how Mr. Johnson has built most of his companies, and it distinguishes him from most of his AfricanAmerican counterparts. His private equity fund, for instance, is financed partly by the Washington-based Carlyle Group, while his hedge fund has backing from Deutsche Bank. “Look, the social activist mold that was poured for Al Sharpton or Jesse Jackson or Vernon Jordan was not poured for me; the artistic mold that was poured for Oprah Winfrey and JayZ was not poured for me, either — that is not the DNA that I got,” Mr. Johnson says. “The mold that was poured for me is the same one that was poured for Ken Chenault, Richard Parsons, Stanley O’Neal. I create wealth and value. That’s what I do, and I’m good at it.” Mr. Malone concurs and says that blacks have been unfair to Mr. Johnson. “It’s a real challenge in the black race to be successful and not be regarded as having sold out,” he says. “It’s a terrible shame that the entire black community doesn’t embrace people like Bob, honor him.” In Charlotte, at least, Mr. Johnson has his share of white critics. So while it might be convenient to attribute Mr. Johnson’s struggles with the Bobcats as partly a function of the color of his skin, there is a strong possibility that a more involved, hands-on black owner might be enjoying a smoother honeymoon than Mr. Johnson. In the three years since he took over the Bobcats, Mr. Johnson has — largely from a distance — initiated a series of senior management shakeups and cuts, a move from an old arena to a new one and, for season ticket holders, a price increase followed by a price reduction. As the N.B.A. showcases its top athletes today at its annual all-star game in Las Vegas, no Bobcats players will be featured. The Bobcats reside at the bottom of the Southeast Division of the league’s Eastern Conference with 19 wins and 33 losses. And in a brand new arena that the city built for the Bobcats despite local opposition, the team’s home attendance ranks 27th among the N.B.A.’s 30 teams. “I don’t know of a professional sports franchise that can fill up an arena when they’re in last place; you have to win games,” says Mayor Patrick McCrory of Charlotte. “It’s just that simple.” It doesn’t help that Charlotte fans still nurse a grudge over the last pro team that rolled into town. Back in the late 1980s, the businessman George Shinn started the Charlotte Hornets but relocated to New Orleans after his unsuccessful bid for a new basketball arena. Mr. Jordan, the former Chicago Bulls star, says: “There has been a wedge that’s been created here. There was trust and respect that had been earned and then the team leaves. People are still upset about that.”

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For his part, Mr. Johnson says he is ready to mend those wounds. Yet even as he tries to demonstrate passion for Charlotte and the Bobcats, he sounds the notes of a brass-tacks, no-nonsense entrepreneur. “I like this city,” he says. “It’s business-oriented. It’s got the big banks; the government is profit-oriented; it’s a transportation hub. It’s non-union.” It is that approach that leaves some observers wondering whether Mr. Johnson has what it takes to lift the value of a sports franchise that, in the end, is linked to team loyalty and winning. As Mr. Edmond of Black Enterprise observes: “What makes him a great entrepreneur may end up handicapping him as the owner of a sports franchise where fans expect owners to love the team as much as they do.”

John Malone

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Church Gone Wild‌

Inclusion, Homosexuality, Drugs, Adultery, Divorce, Abuse and Vanity in the Church?

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Carlton Pearson now believes hell does not exist and boasts a stain glass image of Hitler in his church, gospel singer Tonex has come out of the closet as a gay man, T.D. Jakes son was caught masturbating to a under cover police officer, Ted Haggard was a meth addict and homosexual, Pastor Paulk was having sex with multiple women, Juanita Bynum failed to keep her vows in marriage and her husband Bishop Weeks allegedly hit her, Jamal Bryant and Pastor Bloomer cosign on inclusion with Carlton Pearson, Lexi has now become the gospel version of Oprah Winfrey, gospel Hip Hop Rapper Da Truth commits adultery with Ty Tribett’s wife and Ty Tribett returns the favor with his wife. Bebe Winans hits his wife and is arrested. Both Randy and Paula White have been linked to other people (Paula White has been linked to Rick Hawkins and Randy White has been linked to his ex-porn star female personal trainer, which of course is an innocent relationship). I understand that both Randy and Paula White are high profile superstar ministers, but for the sake of the believers who trusted their leadership, it would have been best if neither had been linked to anyone. If Paula White was divorcing Randy White for biblical grounds of adultery, why not say it? Jermaine Jakes, son of The Potter's House pastor T.D. Jakes, was arrested and charged with indecent exposure. According to a Dallas Police Department arrest warrant affidavit obtained by CBS 11 News, Jakes exposed himself to two undercover vice detectives at Keist Park on January 3, 2009. The affidavit says Jakes walked up to one of the detectives at the park with his pants unzipped. Jakes then began to masturbate while making eye contact with the detective, according to the affidavit. The detectives arrested Jakes on a charge of indecent exposure. Jamal Bryant is the affable 38-year-old pastor of Empowerment Temple A.M.E in Baltimore, Maryland. Many view him as a burgeoning voice in the AME (African Methodist Episcopal) denomination as his influence has extended nationally and internationally. Known for articulating relatable sermons, the former 11th grade drop-out who entered the prestigious Morehouse College with a GED, has not released a statement about the situation, of alleged affairs and divorcing his wife, likely under his attorney’s advisement. “This is a private matter between Dr. Bryant and his wife, and we’d like to keep this matter private,” attorney Jimmy A. Bell told the paper. The copious blog and chat entries on the troubled marriage suggest this may be a personal matter, but it is far from private. Scandalous rumors of alleged affairs with several women have been rampant since the couple’s engagement. His supposed womanizing went overboard when he impregnated a church member said to be 17 at the time of the time of copulation. When accusations of this affair surfaced in the Summer of 2007, church leaders asked him to step down while they initiated an investigation and awaited paternity test results. Months after the investigation, Jamal Bryant remains the pastor of Empowerment Temple. I have attended these ministries and found them to be very talented people but, I would always feel that something was missing. I believe that these people have become full fledged entertainers and could not abide in the same word they preached because it was an ambition and not a calling. We should not condemn them but, if they allow, we should pray for them and assist in the healing process. God is cleansing the house so that we all can finally get saved and not leave these services high on hope as with dope. After the high comes down, we are still hurting because the show ends when the curtain closes. They take offerings but, you will not see them give an offering or return your call when in need. These mega churches have become a franchise of a prototype that made millions for many preachers. They took Rev. Ike to a new level and we fell for it. Let’s embrace truth without anger and we will not be deceived again.

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The Ulmer Scale's Top 10 Lists (Actor Bankability in Studio-Level Movies) Top Black Stars

Top Hispanic Stars

1. Will Smith 96 2. Denzel Washington 78 3. Jamie Foxx 63 4. Morgan Freeman 57 5. Halle Berry 56 6. Beyonce Knowles 55 7. Eddie Murphy 53 8. Samuel L. Jackson 50 9. Forest Whitaker 46 10. Chris Tucker 43

1. Cameron Diaz 76 2. Penelope Cruz 69 3. Salma Hayek 59 4. Antonio Banderas 56 5. Jenni Lopez 56 6. Benicio Del Toro 53 7. Javier Bardem 53 8. Diego Luna 36 9. Andy Garcia 35 10. Marisa Tomei 35

Top Asian Stars

1. Jackie Chan 65 2. Jet Li 50 3. Lucy Liu 43 4. Michelle Yeoh 40 5. Stephen Chow 39 6. Yun Fat Chow 35 7. Ziyi Zhang 33 8. Ken Watanabe 33 9. Li Gong 31 10. Tony Leung 30

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Top South Asian Stars

1. Dev Patel 30 2. Kal Penn 25 3. Freida Pinto 16 4. Naveen Andrews 15 5. Om Puri 11 6. Aishwarya Rai 10 7. Shabana Azmi 9 8. Sarita Choudhury 6 9. Akshay Kumar 4 10. Kareena Kapoor 4


Honey, They Shrunk My Value by James Ulmer If you think the global economy has hit the skids recently, take a look at the world's most bankable movie actors. It's a recession out there. In nearly every market sector, Hollywood's blue-chip star stock has fallen. The ability of an actor's name alone to attract full funding for a movie has significantly weakened since our last major global survey in 2007. For most years since the mid-90s, at least a half-dozen familiar faces Cruise, Hanks, Pitt and Roberts among them -- have been tucking themselves onto the A+ list as handily as sea lions flopping onto a warm beach rock. But that rock continues to shrink as the cold waters of financial risk and uncertainty, and a rapidly fragmenting entertainment marketplace, inexorably rise. Today, traditional movie stars must compete for eyeballs with all kinds of screens beyond the silver one, and most of those are shrinking, too: TV, the Internet, Blackberries, iPhones, wristwatches - you get the picture. There are doubtless trade shows being conjured up at this moment to promote 10 new ways of downloading the next Johnny Depp franchise in 1.2 seconds onto your fingernail. Nail salons may find entirely new revenue streams selling popcorn. In the meantime, Depp is sitting comfortably on that small sunny rock, sharing it with Will Smith the only two left on the A+ list. As usual, they ride the advantage of a global marketplace that consistently rewards stars of action-adventure franchises, the genre that travels best worldwide and which is still overwhelmingly a boy's club. They're also among the precious few of the topechelon stars who saw their bankability scores

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rise in the past two years instead of ebbing southwards. Reese Witherspoon and Meryl Streep were two of the lucky ones in this regard, too. Top-drawer female talent seems to have borne the brunt of the current star recession. Former #1 female star Julia Roberts slipped 11 points to 12th place overall (a big dip for such a solid marquee name), moving off the A+ list for the first time in more than 15 years. That's due in large part to her lowered output of films. And the one-time #2 actress Nicole Kidman slipped down to 9th place among women, sliding off the A list altogether (as did Jodie Foster) by shedding a whopping 17 bankability points - the largest drop of any of the ladies. For a look at the full tally of who the biggest gainers and losers are in star power, check out our new ‘Uppers' vs. ‘Downers' list and graph (p.450). Shia LaBeouf and Daniel Craig top the ‘uppers' with gains of 43 points and 36 points, respectively, proving once again that it never hurts to have a megahit action-adventure franchise in your career pocket. Those pockets are getting mighty shallow for the biggest ‘downers' on the list: Mel Gibson (26) and Jim Carrey (-21). Remember Gibson's 2006 drunk driving fiasco with a soupçon of

anti-Semitic slurs tossed in? Our industry graders certainly did. They also haven't forgotten that Gibson skidded off his acting career track by focusing on directing; alas for him, reduced face time on screen nearly always translates to lower scores. (Some actors are more resistant to this rule, notably Jack Nicholson.) Gibson made a stab of sorts at returning to the limelight by starring in a film that seemed aptly titled for his acting career: The Edge of Darkess.

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And love his manic-boy shtick or not, Jim Carrey is certainly a Hollywood Yes Man when it comes to hopping on board movie projects he clearly should have said ‘no' to. (The Number 23 vaults to mind). Still, playing comedy remains one of the best insurance policies for an actor's box office viability and career longevity, as Robert DeNiro discovered in a little film called Analyze This. And if it's dark times that comedy shines brightest in, all the bad news of today's global gestalt may actually help the box office of movies that showcase funny guys like Will Ferrell (up 5 points this year), Jack Black (+8), Mike Myers (+2), Robert Downey Jr. (+17) and Rowan Atkinson (+32). Or not. There's always the exceptions that smash the rules: Robin Williams (-18), Ben Stiller (-6), Eddie Murphy (-13) and, of course, that maestro of misapplied comic talent, Carrey. It just goes to show that funny guys are mostly funny on their own and rarely, if ever, travel in packs, much less in trends. Luckily, moviegoing itself is proving immune to the slings and arrows of the current economic downturn. As with other bleak moments in our economic history, it's no surprise that the number of people watching movies in cinemas has surged (as much as 10% since the housing crash of 2008, by some counts) as consumer confidence has plunged. Presumably, folks want to find some solace in their surrender to the stories on the big screen. Which, thankfully, remains big. Despite all the "Hollywood on the Web" seminar alerts crowding my Linked-in mailbox, and the gigabytes of studio trailers I've happily ogled on my iPhone, movie stars will still be necessary in order to make - well, movies. Whether those stars are as overplayed and over-hyped as Tom Cruise, as luminously unHollywood as Kate Winslett or as independentlyminded and marketed as Parker Posey, they'll still drive the revenues for an industry that, hopefully, will help drive us to better times. No doubt they'll be competing for eyeballs with torrents of terabytes from hoards of online impresarios, including a few of the actors in this book. But what's the worry? That only means Hollywood's producers will need to summon better writing, better casting and smarter producing in creating their feature-length projects. That's a good thing for an oversaturated feature marketplace, assuming those nail salon moguls don't beat everyone to the best stories.

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Meanwhile, we invite you to use the Actors Hot List as you raise financing, start casting and build your sales, marketing and distribution strategies for your projects. It's a valuable tool for helping you make wiser decisions about an always risky business, perhaps riskier now than ever. I am reminded here of the words of one uniquely tough lady who knew how to analyze a challenged and changing industry better than most: "I'm big," proclaimed the brazen Norma Desmond at the gates of Paramount in Sunset Boulevard, about the same time that television was starting to wreak havoc on the studios' business models, only to become a golden retriever of studio revenue for decades to follow. "It's the pictures that got small." Yes, Norma knew that stars can still be big when the screens get tiny. She'd probably laugh at anyone who dared to doubt that movies couldn't find "eyeballs" despite, and maybe because of, the havoc wreaked by new technologies. If she were alive today, I'd imagine her standing regally on that tiny rock reserved for the world's utmost stars, looking rather dismissive as the waves of the industry's rising tides of change lap gently at her evening gown. Digitized waves, at that. And if the waters edged up too high, what would she do? (After, that is, she elbowed the other stars off the rock to generate a fabulous profile for the paparazzi on the shore.) She'd probably toss off another laugh, then step over to a bigger rock, one with a better view of her audience. And on higher ground. Which is where she and the rest of the world's most bankable stars will always belong.

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EXCLUSIVE: CELEBRITY MARRIAGES OF "CONVENIENCE" There's always been speculation that some Hollywood couples are less likely lovers than they are well-matched business conglomerates. Well, finally those in-the-know are talking. In an exclusive expose', we discover that this may have taken place with P. Diddy and J. Lo, Mark Anthony and J, Lo, Tracy Edmonds and Eddie Murphy and all done by power broker Benny Medina. Benny has been doing this for years. He's been the broker behind a lot of these alternative Hollywood love interests. This has been going on in Hollywood since the days of Rock Hudson and Doris Day, Humphrey Bogart and Lauren Bacall. The latest of this type of power brokering may have been none other than Tiger Woods. Each person is a corporation and image is everything in the media. These marriages occur for different reasons. Some because the couples are gay or bi-sexual and others are simply a merger of two business brands in to a mega giant.

The Grand Illusion‌ The illusion is to give the public what it wants to see and read about. Some couples rarely see each other and seldom like each other. The entertainment business way of life is to do as you are told or get out. Open marriages, group sex, bisexual relationships and even mentoring are considered valid reasons for these tabloid relationships.

Pictures on the Internet and believed to be in public domain

Photo oops, breeding and big pimpin’

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Beauty of the year

Actress Lisa Raye

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H Magazine Issue 3  

Third issue of H Magazine