Connect with us





Marsai Martin (left) and Miles Brown, two of the stars from the ABC sitcom "black-ish" announce nominees for 47th NAACP Image Awards during a recent press conference. (Earl Gibson III/NAACP)

Marsai Martin (left) and Miles Brown, two of the stars from the ABC sitcom “black-ish” announce nominees for 47th NAACP Image Awards during a recent press conference. (Earl Gibson III/NAACP)

Live TV Special and Red Carpet Pre-Show to Air
Friday, February 5 on TV ONE

Entertainer of the Year Voting Opens
ABC and BET Lead the Nominees in the TV Categories
Columbia Records Leads in the Recording Category

BEVERLY HILLS, CA (December 8, 2015) – The nominees for the 47th NAACP Image Awards were announced today during a press conference from The Paley Center for Media in Beverly Hills, CA. The categories and nominees were announced by Guillermo Díaz (Scandal), Tika Sumpter (The Haves and the Have Nots), Danielle Nicolet (Born Again Virgin), Marsai Martin (Black-ish), and Miles Brown (Black-ish). In addition, the event was live streamed and special commentary was provided by Nischelle Turner (Entertainment Tonight).

The NAACP Image Awards celebrates the accomplishments of people of color in the fields of television, music, literature and film and also honors individuals or groups who promote social justice through creative endeavors. Winners will be announced during the two-hour star-studded event, which will broadcast LIVE on TV ONE on Friday, February 5, 2016 at 9pm/8c as a two-hour special. A one-hour pre-show will air live from the red carpet at 8pm/7c.

“The Image Awards celebrates individuals who model principles of hard work, perseverance, and community empowerment and with the announcement of this year’s nominees the NAACP continues to spotlight the achievements of those in our community,” stated Roslyn M. Brock, Chairman of the NAACP National Board of Directors. “We have enjoyed a great collaboration with TV One and look forward to working with them again this year to create a memorable evening of entertainment.”

“The NAACP Image Awards has become more than just a ceremony, but an institution for artists and social justice warriors of color to be recognized and celebrated,” stated Cornell William Brooks, President and CEO, NAACP. “As the Image Awards continues to grow and evolve, the principles of social justice will remain at its core.”
ABC and BET lead the nominees in the TV categories with 28 and 13 nominations respectively, followed by FOX with 12. In the recording category, Columbia Records leads with 10 nominations, followed by RCA with 9 nominations and BMG with 6 nominations. Warner Brothers leads with 6 nominations, while Universal Pictures and Netflix both received 5 nominations in the motion picture categories.

The 47th NAACP Image Awards is sponsored by AT&T, Bank of America, Chrysler-UAW, FedEx, Ford Motor Company, General Motors, Hyundai Motors of America, Southwest Airlines and Wells Fargo.

For all information and latest news, please visit the official NAACP Image Awards website at http://www.naacpimageawards.net.

FB: /naacpimageaward | Twitter: @naacpimageaward | Social Hashtag: #NAACPImageAwards

Following is the complete list of categories and nominees for the 47th NAACP Image Awards:


• Michael B. Jordan
• Misty Copeland
• Pharrell Williams
• Shonda Rhimes
• Viola Davis


Outstanding Comedy Series
• “black-ish” (ABC)
• “House of Lies” (Showtime)
• “Key & Peele” (Comedy Central)
• “Orange is the New Black” (Netflix)
• “Survivor’s Remorse” (Starz)

Outstanding Actor in a Comedy Series
• Andre Braugher – “Brooklyn Nine-Nine” (FOX)
• Anthony Anderson – “black-ish” (ABC)
• Don Cheadle – “House of Lies” (Showtime)
• Dwayne Johnson – “Ballers” (HBO)
• RonReaco Lee – “Survivor’s Remorse” (Starz)

Outstanding Actress in a Comedy Series
• Gina Rodriguez – “Jane The Virgin” (The CW)
• Loretta Devine – “The Carmichael Show” (NBC)
• Tracee Ellis Ross – “black-ish” (ABC)
• Uzo Aduba – “Orange is the New Black” (Netflix)
• Wendy Raquel Robinson – “The Game” (BET)

Outstanding Supporting Actor in a Comedy Series
• David Alan Grier – “The Carmichael Show” (NBC)
• Laurence Fishburne – “black-ish” (ABC)
• Mike Epps – “Survivor’s Remorse” (Starz)
• Miles Brown – “black-ish” (ABC)
• Terry Crews – “Brooklyn Nine-Nine” (FOX)

Outstanding Supporting Actress in a Comedy Series
• Anna Deavere Smith – “Nurse Jackie” (Showtime)
• Danielle Brooks – “Orange is the New Black” (Netflix)
• Laverne Cox – “Orange is the New Black” (Netflix)
• Marsai Martin – “black-ish” (ABC)
• Tichina Arnold – “Survivor’s Remorse” (Starz)

Outstanding Drama Series
• “Being Mary Jane” (BET)
• “Empire” (FOX)
• “How to Get Away with Murder” (ABC)
• “Power” (Starz)
• “Scandal” (ABC)

Outstanding Actor in a Drama Series
• LL Cool J – “NCIS: Los Angeles” (CBS)
• Morris Chestnut – “Rosewood” (FOX)
• Omari Hardwick – “Power” (Starz)
• Terrence Howard – “Empire” (FOX)
• Wesley Snipes – “The Player” (NBC)

Outstanding Actress in a Drama Series
• Gabrielle Union – “Being Mary Jane” (BET)
• Kerry Washington – “Scandal” (ABC)
• Nicole Beharie – “Sleepy Hollow” (FOX)
• Taraji P. Henson – “Empire” (FOX)
• Viola Davis – “How to Get Away With Murder” (ABC)
Outstanding Supporting Actor in a Drama Series
• Alfred Enoch – “How to Get Away with Murder” (ABC)
• Bryshere Y. Gray – “Empire” (FOX)
• Guillermo Diaz – “Scandal” (ABC)
• Joe Morton – “Scandal” (ABC)
• Jussie Smollett – “Empire” (FOX)

Outstanding Supporting Actress in a Drama Series
• Cicely Tyson – “How to Get Away with Murder” (ABC)
• Danai Gurira – “The Walking Dead” (AMC)
• Grace Gealey – “Empire” (FOX)
• Naturi Naughton – “Power” (Starz)
• Regina King – “American Crime” (ABC)

Outstanding Television Movie, Mini-Series or Dramatic Special
• “American Crime” (ABC)
• “Bessie” (HBO)
• “Luther” (BBC America)
• “The Book of Negroes” (BET)
• “The Wiz Live!” (NBC)

Outstanding Actor in a Television Movie, Mini-Series or Dramatic Special
• Cuba Gooding, Jr. – “The Book of Negroes” (BET)
• David Alan Grier – “The Wiz Live!” (NBC)
• David Oyelowo – “Nightingale” (HBO)
• Idris Elba – “Luther” (BBC America)
• Michael Kenneth Williams – “Bessie” (HBO)

Outstanding Actress in a Television Movie, Mini-Series or Dramatic Special
• Angela Bassett – “American Horror Story: Hotel” (FX Networks)
• Aunjanue Ellis – “The Book of Negroes” (BET)
• Jill Scott – “With this Ring” (Lifetime)
• LaTonya Richardson Jackson – “Show Me a Hero” (HBO)
• Queen Latifah – “Bessie” (HBO)

Outstanding News/ Information – (Series or Special)
• “Katrina: 10 Years After the Storm” (ABC)
• “News One Now” (TV One)
• “Oprah Prime: Celebrating Dr. King and the Selma Marches 50 Years Later” (OWN)
• “Oprah: Where Are They Now?- Civil Rights Special” (OWN)
• “Unsung” (TV One)

Outstanding Talk Series
• “Melissa Harris-Perry” (MSNBC)
• “Steve Harvey” (Syndicated)
• “The Daily Show with Trevor Noah” (Comedy Central)
• “The Talk” (CBS)
• “The Wendy Williams Show” (Syndicated)

Outstanding Reality Program/Reality Competition Series
• “Dancing with the Stars” (ABC)
• “Iyanla: Fix My Life” (OWN)
• “Shark Tank” (ABC)
• “The Voice” (NBC)
• “Welcome to Sweetie Pies” (OWN)

Outstanding Variety (Series or Special)
• “Black Girls Rock!” (BET)
• “Family Feud” (Syndicated)
• “Oprahs Master Class” (OWN)
• “The Daily Show with Trevor Noah” (Comedy Central)
• “The Nightly Show with Larry Wilmore” (Comedy Central)

Outstanding Children’s Program
• “Doc McStuffins” (Disney Junior)
• “Dora and Friends” (Nickelodeon)
• “K.C. Undercover” (Disney Channel)
• “Little Ballers” (Nickelodeon)
• “Project MC2” (Netflix)

Outstanding Performance by a Youth (Series, Special, Television Movie or Mini-series)
• Hudson Yang – “Fresh Off The Boat” (ABC)
• Marcus Scribner – “black-ish” (ABC)
• Marsai Martin – “black-ish” (ABC)
• Miles Brown – “black-ish” (ABC)
• Skai Jackson – “Jessie” (Disney Channel)

Outstanding Host in a News, Talk, Reality, or Variety (Series or Special) – Individual or
• “Family Feud” – Steve Harvey (Syndicated)
• “Melissa Harris-Perry” – Melissa Harris-Perry (MSNBC)
• “Real Sports with Bryant Gumbel ” – Bryant Gumbel (HBO)
• “The Daily Show with Trevor Noah” – Trevor Noah (Comedy Central)
• “The Nightly Show with Larry Wilmore” – Larry Wilmore (Comedy Central)


Outstanding New Artist
• Andra Day (Warner Bros. Records)
• Judith Hill (NPG Records)
• Jussie Smollett (Columbia Records)
• The Weeknd (Republic Records)
• Yazz (Columbia Records)

Outstanding Male Artist
• Charlie Wilson (RCA Records)
• Kendrick Lamar (Top Dawg Entertainment/Aftermath/Interscope)
• Pharrell Williams (Columbia Records/iamOTHER)
• The Weeknd (Republic Records)
• Tyrese Gibson (Voltron Recordz)

Outstanding Female Artist
• Janet Jackson (Rhythm Nation/BMG)
• Jazmine Sullivan (RCA Records)
• Jill Scott (Atlantic Records)
• Lalah Hathaway (Hathaway Entertainment/Entertainment One)
• Lauryn Hill (RCA Records)

Outstanding Duo, Group or Collaboration
• “Conqueror” – Empire Cast feat. Estelle & Jussie Smollett (Columbia Records)
• “Hamilton: An American Musical” – Original Broadway Cast (Atlantic Records)
• “No Sleeep” – Janet Jackson feat. J. Cole (Rhythm Nation/BMG)
• “One Man Can Change The World” – Big Sean feat. Kanye West and John Legend (G.O.O.D. Music/Def Jam Recordings)
• “Sound & Color” – Alabama Shakes (ATO Records)

Outstanding Jazz Album
• “BrotherLEE Love: Celebrating Lee Morgan” – Terell Stafford Quintet (Capri Records)
• “Dee Dee’s Feathers” – Dee Dee Bridgewater, Irvin Mayfield, New Orleans Jazz Orchestra (Okeh)
• “Miles Davis at Newport 1955-1975: The Bootleg Series Vol. 4” – Miles Davis (Columbia/Legacy Recordings)
• “The Complete Concert By The Sea” – Erroll Garner (Legacy Recordings/Octave Music Publishing Corporation)
• The Epic” – Kamasi Washington (Brainfeeder)

Outstanding Gospel Album – (Traditional or Contemporary)
• “A Different Place” – Kim Burrell (Shanachie Entertainment)
• “It’s Personal” – Tina Campbell (Gee Tree Creative)
• “Losing My Religion” – Kirk Franklin (RCA Inspiration)
• “The Gospel According To Jazz – Chapter IV” – Kirk Whalum (Mack Avenue Records, Rendezvous, Top Drawer Records)
• “You Shall Live” – Marvin Sapp (RCA Inspiration)

Outstanding Music Video
• “Can’t Feel My Face” – The Weeknd (Republic Records)
• “Freedom” – Pharrell Williams (Columbia Records/iamOTHER)
• “No Sleeep” – Janet Jackson feat. J. Cole (Rhythm Nation/BMG)
• “Shame” – Tyrese Gibson (Voltron Recordz)
• “Sound & Color” – Alabama Shakes (ATO Records)

Outstanding Song – Traditional
• “Back Together” – Jill Scott (Atlantic Records)
• “Everytime I’m With You” – Seal (Reprise Records)
• “Feeling Good” – Lauryn Hill (RCA Records)
• “Goodnight Kisses” – Charlie Wilson (RCA Records)
• “Let It Burn” – Jazmine Sullivan (RCA Records)

Outstanding Album
• “Beauty Behind the Madness” – The Weeknd (Republic Records)
• “Empire (Original Soundtrack from Season One)” – Empire Cast (Columbia Records)
• “Forever Charlie” – Charlie Wilson (RCA Records)
• “Unbreakable” – Janet Jackson (Rhythm Nation/BMG)
• “Woman” – Jill Scott (Atlantic Records)

Outstanding Song – Contemporary
• “Conqueror” – Empire Cast feat. Estelle & Jussie Smollett (Columbia)
• “Freedom” – Pharrell Williams (Columbia Records/iamOTHER)
• “No Sleeep” – Janet Jackson feat. J. Cole (Rhythm Nation/BMG)
• “Unbreakable” – Janet Jackson (Rhythm Nation/BMG)
• “You’re So Beautiful” – Empire Cast feat. Jussie Smollett & Yazz (Columbia Records)


Outstanding Literary Work – Fiction
• “Driving the King” – Ravi Howard (HarperCollins/Harper)
• “Ghost Summer: Stories” – Tananarive Due (Prime Books)
• “Mama’s Boy” – ReShonda Tate Billingsley (Gallery Books, a division of Simon & Schuster)
• “Stand Your Ground” – Victoria Christopher Murrary (Touchstone)
• “Under the Udala Trees” – Chinelo Okparanta (Houghton Mifflin Harcourt)

Outstanding Literary Work – Non-Fiction
• “50 Billion Dollar Boss: African American Women Sharing Stories of Success in Entrepreneurship and Leadership” – Kathey Porter (Author), Andrea Hoffman (Author), (Palgrave Macmillan)
• “Ghettoside: A True Story of Murder in America” – Jill Leovy (Spiegel & Grau)
• “SHOWDOWN: Thurgood Marshall and the Supreme Court Nomination That Changed America” – Wil Haygood (Alfred A. Knopf)
• “Spectacle: The Astonishing Life of Ota Benga” – Pamela Newkirk
• “The Light of the World” – Elizabeth Alexander (Grand Central Publishing)

Outstanding Literary Work – Debut Author
• “Between The World and Me” – Ta-Nehisi Coates (Spiegel & Grau)
• “The Fishermen” – Chigozie Obioma (Little, Brown & Company)
• “The Star Side of Bird Hill” – Naomi Jackson (Penguin Press)
• “The Turner House” – Angela Flournoy (Houghton Mifflin Harcourt)
• “The Wind In The Reeds: A Storm, A Play And The City That Could Not Be Broken” – Wendell Pierce (Author), Rod Dreher (Author), (Riverhead Books)

Outstanding Literary Work – Biography/ Auto-Biography
• “After the Dance: My Life with Marvin Gaye” – Jan Gaye (Author), David Ritz (With), (HarperCollins/Amistad)
• “Between The World and Me” – Ta-Nehisi Coates (Spiegel & Grau)
• “One Righteous Man: Samuel Battle and the Shattering of the Color Line in New York” – Arthur Browne (Beacon Press)
• “Power Forward: My Presidential Education” – Reggie Love (Simon & Schuster)
• “Year of Yes: How to Dance It Out, Stand In the Sun and Be Your Own Person” – Shonda Rhimes (Simon & Schuster)

Outstanding Literary Work – Instructional
• “Big Words to Little Me: Tips and Advice for the Younger Self” – Sakina Ibrahim
(Author), Jessie Lee (With), (Createspace (Self published))
• “Free Your Mind: An African American Guide to Meditation and Freedom” – Cortez R. Rainey (CreateSpace)
• “Grandbaby Cakes: Modern Recipes, Vintage Charm, Soulful Memories” – Jocelyn Delk Adams (Agate Surrey)
• “Keep Calm… It’s Just Real Estate: Your No-Stress Guide To Buying A Home” – Egypt Sherrod (Perseus/Running Press)
• “Soul Food Love: Healthy Recipes Inspired by One Hundred Years of Cooking in a Black Family” – Alice Randall (Author), Caroline Randall Williams (Author), (Clarkson Potter)

Outstanding Literary Work – Poetry
• “Catalog of Unabashed Gratitude” – Ross Gay (University of Pittsburgh Press)
• “How to Be Drawn” – Terrance Hayes (Penguin Books / Penguin Random House)
• “Reconnaissance” – Carl Phillips (Farrar, Straus and Giroux)
• “Redbone” – Mahogany L. Browne (Willow Books)
• “Wild Hundreds” – Nate Marshall (University of Pittsburgh Press)

Outstanding Literary Work – Children
• “Chasing Freedom: The Life Journeys of Harriet Tubman and Susan B. Anthony, Inspired by Historical Facts” – Nikki Grimes (Author), Michele Wood (Illustrator), (Orchard Books / Scholastic)
• “Gordon Parks How the Photographer Captured Black and White America” – Carole Boston Weatherford (Author), Jamey Christoph (Illustrator), (Albert Whitman & Company)
• “Granddaddy’s Turn: A Journey to the Ballot Box” – Michael S. Bandy (Author), Eric Stein (Author), James E. Ransome (Illustrator), (Candlewick Press)
• “If You Plant a Seed” – Kadir Nelson (Balzer + Bray, an imprint of HarperCollins
• “New Shoes” – Susan Lynn Meyer (Author), Eric Velasquez (Illustrator), (Holiday House)

Outstanding Literary Work – Youth/Teens
• “Rhythm Ride: A Road Trip Through the Motown Sound” – Andrea Davis Pinkney (Roaring Brook Press)
• “Stella By Starlight” – Sharon Draper (Simon & Schuster)
• “Untwine” – Edwidge Danticat (Scholastic Press)
• “X: A Novel” – Ilyasah Shabazz (Author), Kekla Magoon (With), (Candlewick Press)
• “You Are Wonderfully Made: 12 Life-Changing Principles for Teen Girls to Embrace” – Gwen Richardson (Author), Sylvia Daye Richardson (Author), (Cushcity Communications)


Outstanding Motion Picture
• “Beasts of No Nation” (Netflix)
• “Concussion” (Sony Pictures Entertainment)
• “Creed” (Warner Bros. Pictures/Metro-Goldwyn-Mayer Pictures)
• “Dope” (Open Road Films)
• “Straight Outta Compton” (Universal Pictures)

Outstanding Actor in a Motion Picture
• Abraham Attah – “Beasts of No Nation” (Netflix)
• Chiwetel Ejiofor – “Secret in Their Eyes” (STX Entertainment)
• Michael B. Jordan – “Creed” (Warner Bros. Pictures/Metro-Goldwyn-Mayer Pictures)
• Michael Ealy – “The Perfect Guy” (Screen Gems)
• Will Smith – “Concussion” (Sony Pictures Entertainment)

Outstanding Actress in a Motion Picture
• Lauren ‘Keke’ Palmer – “Brotherly Love” (Flavor Unit)
• Sanaa Lathan – “The Perfect Guy” (Screen Gems)
• Teyonah Parris – “Chi-Raq” (Amazon Studios and Roadside Attractions)
• Viola Davis – “Lila and Eve” (Samuel Goldwyn Films)
• Zoe Saldana – “Infinitely Polar Bear” (Sony Pictures Classics)

Outstanding Supporting Actor in a Motion Picture
• Chiwetel Ejiofor – “The Martian” (20th Century Fox)
• Corey Hawkins – “Straight Outta Compton” (Universal Pictures)
• Forest Whitaker – “Southpaw” (The Weinstein Company)
• Idris Elba – “Beasts of No Nation” (Netflix)
• O’Shea Jackson, Jr. – “Straight Outta Compton” (Universal Pictures)

Outstanding Supporting Actress in a Motion Picture
• Angela Bassett – “Chi-Raq” (Amazon Studios and Roadside Attractions)
• Gugu Mbatha-Raw – “Concussion” (Sony Pictures Entertainment)
• Jennifer Hudson – “Chi-Raq” (Amazon Studios and Roadside Attractions)
• Phylicia Rashad – “Creed” (Warner Bros. Pictures/Metro-Goldwyn-Mayer Pictures)
• Tessa Thompson – “Creed” (Warner Bros. Pictures/Metro-Goldwyn-Mayer Pictures)

Outstanding Independent Motion Picture
• “Beasts of No Nation” (Netflix)
• “Brotherly Love” (Flavor Unit)
• “Chi-Raq” (Amazon Studios and Roadside Attractions)
• “Infinitely Polar Bear” (Sony Pictures Classics)
• “Secret in Their Eyes” (STX Entertainment)


Outstanding Documentary – (Film)
• “Amy” (A24)
• “Dreamcatcher” (Rise Films, Green Acres Films & Vixen Films in association with Impact Partners and Artemis Rising Foundation)
• “In My Fathers House” (Break Thru Films)
• “The Black Panthers: Vanguard of the Revolution” (PBS Distribution/Firelight Films)
• “What Happened, Miss Simone?” (A Radical Media Production in Association with Moxie Firecracker for Netflix)

Outstanding Documentary – (Television)
• “August Wilson: The Ground on Which I Stand” (PBS)
• “Belief” (OWN)
• “Kareem: Minority of One” (HBO)
• “Light Girls” (OWN)
• “Muhammad Ali: The Peoples Champ” (BET)


Outstanding Writing in a Comedy Series
• Alan Yang, Aziz Ansari – “Master of None” – Parents (Netflix)
• Jennie Snyder Urman – “Jane The Virgin” – Chapter Twenty-Three (The CW)
• Jill Soloway – “Transparent” – Kina Hora (Amazon Video)
• Jordan Peele, Keegan-Michael Key, Jay Martel, Ian Roberts, Rebecca Drysdale, Colton Dunn, Phil Augusta Jackson, Alex Rubens, Charlie Sanders, Rich Talarico – “Key & Peele” – Y’all Ready For This? (Comedy Central)
• Kenya M. Barris – “black-ish” – The Word (ABC)
Outstanding Writing in a Dramatic Series
• Erika Green Swafford, Doug Stockstill – “How to Get Away with Murder” – Mama’s Here Now (ABC)
• John Ridley – “American Crime” – Episode 1 (ABC)
• LaToya Morgan – “TURN: Washingtons Spies” – False Flag (AMC)
• Lee Daniels, Danny Strong – “Empire” – Pilot (FOX)
• Mara Brock Akil, Jameal Turner, Keli Goff – “Being Mary Jane” – Sparrow (BET)

Outstanding Writing in a Motion Picture – (Television)
• Dee Rees – “Bessie” (HBO)
• Lawrence Hill, Clement Virgo – “The Book of Negroes” (BET)
• Michael S. Bandy, Eric Stein – “White Water” (TV One)
• Nzingha Stewart – “With this Ring” (Lifetime)
• Shem Bitterman – “Whitney” (Lifetime)

Outstanding Writing in a Motion Picture (Film)
• Andrea Berloff, Jonathan Herman – “Straight Outta Compton” (Universal Pictures)
• Christopher Cleveland & Bettina Gilois, Grant Thompson – “McFarland USA” (Walt Disney Pictures)
• Pete Docter, Meg LeFauve, Josh Cooley – “Inside Out” (Disney/Pixar)
• Rick Famuyiwa – “Dope” (Open Road Films)
• Ryan Coogler, Aaron Covington – “Creed” (Warner Bros. Pictures/Metro-Goldwyn- Mayer Pictures)


Outstanding Directing in a Comedy Series
• Aziz Ansari – “Master of None” – Parents (Netflix)
• Brad Silberling – “Jane The Virgin” – Chapter Twenty-Three (The CW)
• Don Cheadle – “House of Lies” – The Urge to Save Humanity is Almost Always a False Front for the Urge to Rule (Showtime)
• Peter Atencio – “Key & Peele” – The End (Comedy Central)
• Stan Lathan – “Real Husbands of Hollywood” – Cabin Pressure (BET)

Outstanding Directing in a Dramatic Series
• Ernest Dickerson – “Hand of God” – Welcome the Stranger (Amazon Video)
• John Ridley – “American Crime” – Episode 1 (ABC)
• Lee Daniels – “Empire” – Pilot (FOX)
• Millicent Shelton – “American Crime” – Episode Ten (ABC)
• Salim Akil – “Being Mary Jane” – Sparrow (BET)

Outstanding Directing in a Motion Picture (Television)
• Christine Swanson – “For the Love of Ruth” (TV One)
• Dee Rees – “Bessie” (HBO)
• Nzingha Stewart – “With this Ring” (Lifetime)
• Rusty Cundieff – “White Water” (TV One)
• Salim Akil – “The Start Up” (BET)

Outstanding Directing in a Motion Picture – (Film)
• Alfonso Gomez-Rejon – “Me and Earl and the Dying Girl” (Fox Searchlight Pictures / Rhode Island Ave)
• Charles Stone, III – “Lila and Eve” (Samuel Goldwyn Films)
• F. Gary Gray – “Straight Outta Compton” (Universal Pictures)
• Rick Famuyiwa – “Dope” (Open Road Films)
• Ryan Coogler – “Creed” (Warner Bros. Pictures/Metro-Goldwyn-Mayer Pictures)


Outstanding Character Voice-Over Performance – (Television or Film)
• Aisha Tyler – “Archer” (FX Networks)
• Audra McDonald – “Doc McStuffins” (Disney Junior)
• Jeffrey Wright – “The Good Dinosaur” (Disney/Pixar)
• Loretta Devine – “Doc McStuffins” (Disney Channel)
• Wanda Sykes – “Penn Zero” (Disney XD)

#NNPA BlackPress

Will Packer Drama, ‘Ambitions’ Brings Star Power to OWN

NNPA NEWSWIRE — Entertainment juggernaut Will Packer, the man behind hit films like Girls Trip, Straight Outta Compton. Little, Stomp the Yard, Ride Along, “Ready to Love,” and “The Atlanta Child Murders” has brought “Ambitions,” a big drama starring Robin Givens, Essence Atkins, Kendrick Cross, Brian Bosworth and Brian White, to the small screen.



“Ambitions,” a big drama starring Robin Givens, Essence Atkins, Kendrick Cross, Brian Bosworth and Brian White, on OWN: The Oprah Winfrey Network.
“Ambitions,” a big drama starring Robin Givens, Essence Atkins, Kendrick Cross, Brian Bosworth and Brian White, on OWN: The Oprah Winfrey Network.

By Nsenga K. Burton, Nsenga K. Burton, Ph.D., NNPA Newswire Entertainment Editor

Entertainment juggernaut Will Packer, the man behind hit films like Girls Trip, Straight Outta Compton, Little, Stomp the Yard, Ride Along, “Ready to Love,” and “The Atlanta Child Murders” has brought “Ambitions,” a big drama starring Robin Givens, Essence Atkins, Kendrick Cross, Brian Bosworth and Brian White, to the small screen.

Robin Givens plays the role of Stephanie Lancaster, a sophisticated lawyer hailing from a long line of distinguished attorneys. Stephanie desperately wants to be in charge of her family’s prestigious law firm and will stop at nothing to get it. Brian White is ‘Evan Lancaster,’ the Mayor of Atlanta, who is married to attorney Stephanie Carlisle (Robin Givens). Evan’s dream is to be the first African-American governor of Georgia and there’s no line he won’t cross to get there.

Kendrick Cross stars as ‘Titus Hughes,’ a passionate attorney and dedicated husband to Amara (Essence Atkins). Titus has accepted the challenge of being in-house counsel for a big pharma company run by Hunter Purifoy (Brian Bosworth) to fight a class action suit brought by the powerful Carlisle family.

Brely Evans stars as ‘Rondell Lancaster,’ the sister of Atlanta Mayor Evan Lancaster and manager of the Thelma’s Place restaurant. As the new face of an anti-gentrification campaign, she never thought she’d become a crusader for the people, but it’s a badge she wears with pride – and nobody is removing it.

Erica Page plays the role of ‘Bella (Tru) Trujillo,’ Atlanta’s newest and trendiest fashion designer. She’s the exclusive dress designer for First Lady Stephanie Lancaster, but has set her sights much higher. 

Essence Atkins plays the role of ‘Amara Hughes,’ a lawyer in the U.S. Attorney’s Office who has newly arrived in Atlanta with her husband, Titus (Kendrick Cross). Originally from Texas, she is quickly gaining attention from the U.S. Attorney’s Office as a diligent investigator and prosecutor.

In addition, Brian Bosworth (“What Men Want”), Matt Cedeño (“Power”), Deena Dill (“Conrad & Michelle”), Gino Anthony Pesi (“Shades of Blue”) and Kayla Smith (“Star”) will appear in recurring roles.

Created by executive producer/writer Jamey Giddens “AMBITIONS” is produced for OWN by Will Packer Media in association with Lionsgate and Lionsgate-owned distributor Debmar-Mercury.

Will Packer is executive producer. Kevin Arkadie is executive producer/showrunner. Creator/writer Jamey Giddens and Will Packer Media’s Sheila Ducksworth also serve as executive producers.

Benny Boom directed and served as a producer of the pilot episode.

Connect with the series on social media via: @AmbitionsOWN (Instagram & Twitter)

Check local listings for channel information.

This post was curated by Nsenga K Burton, Ph.D., founder & editor-in-chief of The Burton Wire. An expert in intersectionality and media industries, Dr. Burton is also a professor of film and television at Emory University and co-editor of the book, Black Women’s Mental Health: Balancing Strength and Vulnerability. Follow her on Twitter @Ntellectual or @TheBurtonWire

Continue Reading

#NNPA BlackPress

Film, fellowship puts Memphian Jamey Hatley on course for the big screen

NNPA NEWSWIRE — Hatley is the recipient of the inaugural Indie Memphis Black Filmmaker Fellowship in Screenwriting. Funded by Barry Jenkins (“Moonlight” and “If Beale Street Could Talk”), the two-month fellowship comes with a $7,500 unrestricted cash grant to help Hatley develop her screenplay, “The Eureka Hotel.”



Jamey Hatley (Photo: Demarcus Bowser)
Jamey Hatley (Photo: Demarcus Bowser)

By Karanja A. Ajanaku, New Tri-State Defender

Jamey Hatley is from Walker Homes and while debates still rage over whether that’s in Whitehaven or Westwood, there is no question that Hatley’s writing career is on an upward trajectory.

Hatley is the recipient of the inaugural Indie Memphis Black Filmmaker Fellowship in Screenwriting. Funded by Barry Jenkins (“Moonlight” and “If Beale Street Could Talk”), the two-month fellowship comes with a $7,500 unrestricted cash grant to help Hatley develop her screenplay, “The Eureka Hotel.”

Jenkins also handpicked Raven Jackson, another native of Tennessee, as the winner of the Indie Memphis national Black Filmmaker Residency for Screenwriting. The two-month residency, including travel and housing, affords Jackson, a thesis student in New York University’s Graduate Film program, $7,500. Her feature film product is “all dirt roads taste of salt.”

“As an artist, I’ve always admired Memphis and what it’s meant to black artistry across many forms and genres,” said Jenkins. “To partner with Indie Memphis in supporting Jamey Hatley and Raven Jackson in taking the next steps in their quest to creatively engage and contribute to the diaspora is an honor most high.

“In their work, I find resounding proof that Memphis both raises talent from within (Hatley, a native Memphian) and inspires it from abroad (Jackson).”

A Whitehaven High School alum, Hatley had definite plans – attend the University of Tennessee-Knoxville and become a corporate executive – the day she walked off the graduation stage.

What happened? So many things, she said, including an internship that contributed to her rethinking her plans. Later, she got a journalism degree from the University of Memphis and at one point got mixed up in the music industry via a connection.

“…(W)ords and books were so important to me that I could not imagine myself being a writer. I tiptoed up to it,” she said. “I was doing everything to run away from these stories, but I was still scribbling. The stories ended up catching up with me.”

Screenwriting came into the picture by email and out of the blue last September.

“At that time, I had no job. My literal organization had gotten defunded, it had fallen apart. It was like, ‘Oh, this fancy director considers you an ideal collaborator. Would you do it?’ I’m like, ‘I like to eat, I like to pay my rent, so OK.’”

That project, which is for a major network, still is in development. The experience opened the door to the Writer’s Guild and primed her for the Indie Memphis Black Filmmaker Fellowship in Screenwriting opportunity.

“I think one of my superpowers is knowing, ‘Oh, here’s your door. Are you going to walk through it?’ If it’s a door and I feel like it’s mine, then I’m going to run through it and I’ll figure it out on the other side.”

That the fellowship was being funded by Jenkins was a huge attraction. She’d met him at an event in New Orleans (where she was living at the time) and had summoned the resolve to share with him her first – and then recently published in the Oxford American – short story.

Content to “just watch Barry’s beautiful movies for the rest of my life,” she learned on Twitter that she had won the fellowship and the opportunity to learn more directly from him.

“I still can’t believe it,” she said.

Hatley entered a treatment into the fellowship, eager for the resources and support to create a finished version of her screenplay, “The Eureka Hotel.”

The Eureka Hotel was a real place in Memphis. Hatley became aware of it while researching for her novel, learning that it had operated out of a Victorian-styled home that she had stared at so many times while visiting a friend’s Downtown Memphis art gallery.

“The Eureka Hotel,” Hatley says, is “a journey story because the Eureka was a colored hotel. … Their tagline was ‘Always open.’”

A short film based on the screenplay now is in post-production.

“It’s beautiful. Absolutely beautiful,” says Hatley, who must deliver a script for a feature-length film to Jenkins.

She also has “a few things else that are secret that are working in the background that happen to be scripts.

“But I’m also going to finish my novel, because I’m still a novelist….”

The novel is about Memphis.

“Everything I write is about Memphis, and it’s about Walker Homes. It’s called the ‘Dream Singers.’ It takes place in the wake of the King assassination, and there is a woman … I call her a dream singer. …She has babies, twins. One is born at the moment that King is assassinated. One is born at the moment that he dies, and all the hopes and dreams of this community, that’s based on Walker Homes, reside in these babies. In three months, four months, later in July, one of the babies passes away. That stymies the community. …

“I feel like Memphis feels a debt about King dying here that we’ve never fully acknowledged. …To me, dreams are debt. Anybody’s dream, somebody else pays for it. …It’s really exploring who gets the dream and who pays the price for that.”

America, she says, has never been honest with itself, regarding the root-level issues that existed before Dr. King – issues that brought him to Memphis and ultimately led to his assassination.

“I think art gives us an opportunity to at least explore being honest in a way that’s not comfortable, but more successful.”

Continue Reading

#NNPA BlackPress

FILM REVIEW: The Farewell

NNPA NEWSWIRE — When you walk out of the theater you may feel like you just left a family meal or a close friend’s house. That familial reaction is the result of Wang’s welcoming storytelling and an ensemble cast that makes you feel at home as you experience a sweet and sour drama, which tends to be more sweet.



The cast of The Farewell

By Dwight Brown, NNPA Newswire Film Critic

That thing called life. Everyone goes through it, somehow putting a greater focus on the beginning and not the end. Who’s more adorable? Babies or elders? Yea, right.

The Farwell dares to venture to the last chapter of our existence as it examines how an Asian family handles the finish-line process. It does so with a warm-hearted and uplifting spirit that is quite affecting.

Writer/director Lulu Wang dug into her own experiences to develop the script’s premise, storyline and characters, basing her 98-minute anecdote on an incident that happened to her.

Wang’s alter-ego is Billi (Awkwafina, Crazy Rich Asians), a Chinese-born, U.S.-raised twentysomething who is stunned to learn that her grandma, Nai Nai (Zhao Shuzhen), has been diagnosed with a terminal disease and given a short time to live.

Billi is even more shocked when her dad Haiyan (Tzi Ma, The Quiet American, Rush Hour) and mom Jian (Diana Lin) advise her that the family will not tell the matriarch her diagnosis. Instead, they will gather around her in Changchun, China, their hometown, under the pretense of celebrating a wedding.

For Billi, who is brash, the impulse to reach out to Nai Nai and console her is almost uncontrollable. It’s so strong, her parents don’t want her to travel to China, in fear that she’ll spill the beans. They leave for their motherland, without her. Billi, poor as a church mouse, finds a way (credit cards) to follow them there. In China, her parents and extended family are on pins and needles wondering if their cover will be blown.

Bravely Lulu Wang takes on a dreary subject, but adds an inventive touch of magic, humor and artistry to her narrative. Her Nai Nai character is a magnet of strength. Scenes with her practicing Tai chi and teaching it to Billi are priceless.

The tension between Billi and her parents over a tradition of holding back bad news seems authentic. In America, patients hear about the grim reaper all the time. In China, or at least in this family, the focus is on preserving a quality of life for as long as possible. And if that means sheltering the patient from a death sentence with a group charade, so be it.

Many films start or end with a screenshot that says, ‘Based on a true story.” The Farewell begins with the notation, “Based on an actual lie.” So, from the git-go, audiences know that this will not be an ordinary family drama. And it isn’t.

Wang is very deft at creating a vibrant family vibe, with rivalries, past history, love and conflict all rolled into one. Her efforts are complemented by an ensemble cast that knows their roles and plays them out accordingly. Tzi Ma as dad is the stodgy patriarch. Diana Lin and Ma make the perfect couple, who have one foot planted firmly in the Western world, and the other in their homeland and its culture.

Awkwafina as Billi, is their polar opposite. She’s as American as apple pie and an Apple Computer. She struggles to stay modern, yet respect her culture, traditions and family, too. Her dilemma will resonate with her generation or the offspring of immigrants. Emotional scenes between the three lead actors run quite deep, giving Awkwafina a chance to show her solid dramatic acting chops.

Wang is an artist. It’s evident in the way she frames scenes like family photo portraits, and also in the excellent choices she makes with her tech crew: The music, from the original score (Alex Weston) to the eclectic playlist (musical supervisors Susan Jacobs and Dylan Neely), is as impeccable as it is quirky. The clothes looked lived in (Athena Wang, costume designer). The footage’s colors and tones look great and the cast is well-lit and photographed (Anna Franquesca Solano, D.P.). Sets, from banquet halls to homes and apartments (Yong Ok Lee, production designer) look genuine, and you often question whether you’re watching a movie or real life.

If there is one imperfection, it’s the editing choices. Some scenes, especially the dinners, run on too long, way after the dramatic point has been made (Matt Friedman and Michael Taylor, editor).

When you walk out of the theater you may feel like you just left a family meal or a close friend’s house. That familial reaction is the result of Wang’s welcoming storytelling and an ensemble cast that makes you feel at home as you experience a sweet and sour drama, which tends to be more sweet.

Visit NNPA Newswire Film Critic Dwight Brown at DwightBrownInk.comand BlackPressUSA.com.

Continue Reading

#NNPA BlackPress

Grant paves way to “Take ‘Em Down 901” one-act play

NNPA NEWSWIRE — The real-life drama that culminated with the removal of Confederate-era statues from what had been two Memphis-owned parks will be the subject of a play being developed by Ekundayo Bandele, founder and CEO of the Hattiloo Theatre.



Ekundayo Bandele and Johnny Jones

By Karanja A. Ajanaku, The New Tri-State Defender

The real-life drama that culminated with the removal of Confederate-era statues from what had been two Memphis-owned parks will be the subject of a play being developed by Ekundayo Bandele, founder and CEO of the Hattiloo Theatre.

With Bandele and an associate, Johnny Jones, forming the creative team, the Hattiloo is among the 2019 recipients of MAP Fund grants. Forty-two original, live performance projects will be funded, with a total of $1.3 million in direct support for development and production.

Hattiloo will receive $18,725 to support the Take ‘Em Down 901 play.

“This play will premiere in 2021, with free performances in both Health Sciences and Memphis parks,” said Bandele in announcing the grant award. “The MAP Fund invests in artistic production as the critical foundation of imagining — and ultimately co-creating — a more equitable and vibrant society.”

The MAP grantors note that “at a time of deep division, the grantees seek to interrogate marginalizing structures in the United States while asserting new possibilities for thriving interdependence.”

Some of the projects will employ processions and other performance practices as a strategy for “transforming spaces with racist histories, such as contentious borders, waterways, or landmarks.” Others will generate shared rituals, dances and songs in celebration of life.

Topics covered by the 42 performance projects include an exploration of the mental health of firefighters in Detroit, where the vacancy and arson rates are the highest in the country, and a look at the “larger psychological ramifications of border politics for immigrants.”

MAP Fund Executive Director, Moira Brennan, said, “As a whole, this extraordinarily diverse group of artists sends a resounding message of determination and hope. We are honored to support their efforts and can’t wait to watch their visions unfold.”

Here is the description of the Hattiloo performance project:

“Take ‘Em Down 901” is a one-act play about the grassroots movement that resulted in the December 2017 removal of statues of Confederate Gen. Nathan Bedford Forrest, Confederate President Jefferson Davis, and Capt. J. Harvey Mathes from public parks in Memphis, where they had stood for more than 100 years, casting their shadows over residents of the fifth ‘Blackest’ city in the country.

The script will be developed by Ekundayo Bandele to tell the story from the perspectives of the group of roughly 50 concerned citizens, who succeeded in legally toppling the controversial landmarks, in the process, upending the powerful institutions that had long protected them and the enduring legacy of oppression they represented for Memphis’ marginalized majority.

The City of Memphis sold Health Science Park and the easement to Memphis Park to Memphis Greenspace, Inc., to clear the way for the removal of the three controversial statues saluting Confederate-era figures.

The parks were sold to Memphis Greenspace, Inc. for $1,000 each. The sale of the parks followed the city’s unsuccessful attempt to get a waiver from the Tennessee Historical Commission to remove the Forrest statue from Health Sciences Park. Memphis Greenspace, Inc. removed the trio of statues within hours of taking ownership.

The MAP Fund was established in 1988 by The Rockefeller Foundation to support innovation and cross-cultural exploration in new works of live performance. Over the past two decades, MAP guidelines have gradually broadened to welcome artists exploring issues of class, sexual orientation, gender, generation, faith and other aspects of cultural difference.

The presentation of the 2019 MAP grantees is in celebration of the group’s 30th anniversary of grant making.


Karanja A. Ajanaku: Describe the development of the play idea. Did you have the idea and were in search of funding? Did you learn of the funding, with the idea for the play then coming to mind?

Ekundayo Bandele: I have long been fascinated with how the Confederate statues were brought down and with the people involved. As Hattiloo approaches its 15-year anniversary, we want to start telling the stories that are around us. So often, Black Memphis history is forgotten within the span of a few short years. My desire to tell this story came before the grant opportunity. Still, the support that comes with the grant makes my idea of the play more tangible.

KAA: Have you already started the writing? How long will it take?

EB: I am still in the research-and-interview phase. I’ve met with Mayor (Jim) Strickland and his team, (Shelby County Commissioner) Tami Sawyer (#TakeEmDown901 spokesperson), (Shelby County Commission Chairman) Van (D.) Turner (Jr. of Greenspace) and Patrick Ghant. I anticipate meeting with (Rev. L.) LaSimba (M.) Gray (Jr.) and Alan Wade, as well as (Rev. Dr.) Earl (J.) Fisher. I will take the rest of this year devising the play – it’s surroundings, the archetypal characters, the symbols. Next year I plan to start workshopping it through table and staged readings. The play will premier in the spring of 2021.

KAA: How important is the aspect of the free performances, particularly in the parks? Did you have to get prior permission for the performances? If so, what was the feedback and from whom?

EB: I asked Van Turner if Memphis Greenspace would grant us permission to perform the play there. He said ‘yes’. I think it is imperative that the community is invited to see this story unfold, a story that will be fiction based on fact. Everyone that I’ve spoken to about the free performances have been excited to see them happen.

KAA: Should we expect to see any of the “takemdown901” activists playing themselves? How will you go about casting and when?

EB: None of the real-life people involved in the statues’ removal will be in the play. There will be characters who represent the sentiment of, say, Tami Sawyer, or Alan Wade. This play isn’t meant to be a documentary work, but a spotlight on a movement that has happened in other cities – Baltimore, Charlottesville, New Orleans. I want to make sure that, while the story is about Memphis, there are themes that any person in any of those other cities can relate to.

KAA: Can you describe your history/partnership with Mr. Jones.

EB: I became acquainted with Mr. Jones through actor and director Baron Kelly, who is also at the University of Louisville. Once I learned that the University had the only program where a student can earn a certificate in African-American theatre, I knew that the play had to have input from that department. Mr. Jones is an accomplished thespian, and I’m eager to see how his insight helps bring this play to fruition.

Continue Reading

#NNPA BlackPress

Hattiloo Theatre panel explore 400 years of Africans in America

NNPA NEWSWIRE — “When we unify, we can work with people we wouldn’t normally get along with. Our commonality is that we all want the best for our people. Black love does not mean white hate. I unapologetically love Black people. I want the best for my people — unapologetically,” said Minister Anthony Mohammad with the Nation of Islam.



As part of an ongoing commemoration of the 400th anniversary of Africans in America, the Hattiloo Theatre hosted “Our Faith, Our Story,” a panel discussion on how Africans used their faith to survive slavery. Above, Rev. Dr. J. Lawrence Turner (left), pastor of Mississippi Boulevard Christian Church, provided a Christian perspective on the quadricentennial of Africans in America. Later, Sadio, a self-styled spiritualist, and Min. Anthony Mohammad of the Nation of Islam shared their views. (Photo: Herman Williams)

By Dr. Sybil C. Mitchell, The New Tri-State Defender

It was quite an extraordinary encounter: a Christian, a Muslim and a Spiritualist on a panel at the Hattiloo Theatre talking about their belief systems during a discussion framed against a backdrop of 400 years of Africans living in America.

One truth outweighed every likely point of contention: each of these systems of belief has sustained African Americans. And in this year of marking the quadricentennial of Africans being brought to America by slave trade, the harmonious meeting of the minds celebrated what is possible when a race of people is unified.

“We have curated an eight-month long commemoration of the 400 years Black people have been in America called ‘Lest We Forget,’ using theatre, film, music and discussion to speak to the triumphs and tragedies of what it means to be Black in this country,” said Ekundayo Bandele, founder and executive director of Hattiloo Theatre. “I was not surprised at the spirit of accord struck with these spiritual giants. So much is possible when we come together in commonality and oneness.”

Hattiloo’s event for June was a panel discussion, “Our Faith, Our Story,” featuring Dr. J. Lawrence Turner, pastor of Mississippi Boulevard Christian Church; Sadio, also known as Sadio Butterfly, a self-styled spiritualist; and Minister Anthony Mohammad with the Nation of Islam.

All three agreed that self-love must be a conscientious mindset, whatever faith someone claims. Self-hate and infighting were common themes for all three panelists.

“When we were taken from Africa, we were not slaves,” said Mohammad. “We were brought straight to America. They made a stop in the Caribbean where we were broken. Our spirit was broken. This was not a physical breaking, but a mental breaking. We were taught to hate ourselves and each other. They took away the light and left only darkness. How can you love anyone if you hate yourself? We are still broken in our minds.”

Turner agreed that Christianity has had its dark side.

“White Christians selected the scriptures they wanted us to know,” he said. “One of the most well-known was ‘Slaves, obey your masters.’ We learned the ones they wanted us to read, but we started to read those other scriptures, too. White Christians helped organize the Black church. In 1787, Black worshippers were told to get off of the altar praying. They allowed the cultural norm of separation and oppression to creep into the church. This was the beginning of the ‘Black church.’

“But God in Christ has suffered with us. The Black church historically has been the center of our community,” Turner said. “And those who say the Black church is too emotional is missing the richness of our faith. Africans were the first to do the remix. They remixed the European hymns with rich, diverse creativity. God’s son, Jesus, died and rose from the dead. And because He lives, I can face tomorrow. That’s my story and I’m sticking to it.”

Sadio, the only female panelist, declared her faith to be steeped in self-empowerment and self-love.

“Our feminine energy tempers masculine energy,” she said. “I recognize the Black woman as ‘God.’ We have always been a part of the resistance. The slave cook would season the food with herbs, herbs brought over from Africa. The white family would get sick and die. No one knew why. The green herb looks like parsley.

“I am African living in America. I pray to the ancestors, use voodoo and juju, pray with crystals, all of that. Sisters, take back your power. Some call it sexual or sensual power. The ancestors told me who I am and the power I have within me. I celebrate my femininity and the power it gives me.”

Sadio said voodoo and juju were given negative connotations because history was rewritten by Europeans.

“I worship the Orisha. I perform her ceremonies and rituals. I pour out libations. I honor the ancestors and the Most High,” she said.

During panel discussions, Mohammad reflected on his faith as it relates to African Americans.

“In the Nation of Islam, we are taught to love ourselves and to love our women. We don’t beg other people to do for us what we can do for ourselves. We don’t beg other folk to protect us or protect our women. We can do that ourselves,” he said.

“When we unify, we can work with people we wouldn’t normally get along with. Our commonality is that we all want the best for our people. Black love does not mean white hate. I unapologetically love Black people. I want the best for my people — unapologetically.”

While many in the mainstream world may not know the significance of 1619, Hattiloo Theatre’s “Lest We Forget” is making a concerted effort to acknowledge the year the first African Americans were brought to the New World colonies as indentured servants.

To learn more about upcoming events in the series, visit www.hattiloo.org.

Continue Reading


Jeanne B. Goodwin Story Telling Festival Wednesday, July 10th At Rudisill Regional Library.

OKLAHOMA EAGLE — Celebrate the rich tradition of sharing wisdom and humor through words during the “Jeanne B. Goodwin Storytelling Festival” on Wednesday, July 10 from 10 to 11 a.m. at Rudisill Regional Library. See stories brought to life by performer Linda Gorham. For more than 25 years, Gorham has presented her award-winning stories around the world. She will inspire children using movement, humor, and zaniness as she tells imaginative folktales and personal tales.




Linda Gorham (Photo by: lindagorham.com)

The Oklahoma Eagle Newswire

Celebrate the rich tradition of sharing wisdom and humor through words during the “Jeanne B. Goodwin Storytelling Festival” on Wednesday, July 10 from 10 to 11 a.m. at Rudisill Regional Library. See stories brought to life by performer Linda Gorham. For more than 25 years, Gorham has presented her award-winning stories around the world. She will inspire children using movement, humor, and zaniness as she tells imaginative folktales and personal tales.

The festival is part of the Tulsa City-County Library’s Birth to Pre-K & Children’s Summer Reading Program, May 28-August 3, 2019.

While we hope that you would come, we understand if it will not be feasible for you to attend.  Family that can attend are asked to share a treat as the children exit the auditorium and walk through the Jeanne B. Goodwin Story Time Room.

Should you have questions, please contact Cher Lyons, Rudisill Regional Library Youth Librarian (clyons@tulsalibrary.org) or me (info is below).

“Linda can rivet people of all walks of life with tales from all over the world – To some, Gorham is a hip, here-and-now, modern day griot.” – Chicago Tribune for more information on Linda Gorham follow the link below.


This article originally appeared in the Oklahoma Eagle. 

Continue Reading

Latest News

%d bloggers like this: