Aug 27

The History of BET

Black Entertainment Television (BET), headquartered in Washington, D.C. and currently operates under the VIACOM umbrella.   With more than 90 million homes watching worldwide, it is the well-known station targeting African-American viewers.  It is also a leading provider of black American cultural and entertainment based programming, both of original creations, acquired properties and musical presentations.

After stepping down as a lobbyist for the cable industry, Freeport, Illinois native Robert L. Johnson decided to launch his own cable television network. Johnson would soon acquire a loan for $15,000, and earned a $500,000 investment from media executive John Malone to start the network.[3] The network, which was named Black Entertainment Television, launched on January 25, 1980.[4] Initially broadcasting for two hours a week as a block of programming on Nickelodeon (it would not be until 1983 that BET became a full-fledged channel), the network’s lineup consisted of music videos and reruns of popular black sitcoms.  (from Wikipedia)

BET has gained popularity with its’ vast black audience, but has faced a number of major African Americans critics such as syndicated columnist George Curry, cartoonist and television producer Aaron McGruder, movie director  and producer Spike Lee, and former Syracuse University professor Boyce Watkins. These critics and others denounced BET’s programming, claiming it promoted sexism and anti-intellectualism.

They also argued that showing rap and hip hop-oriented programming along with comedy programs either intentionally or inadvertently promoted anti-black stereotypes. BET founder Richard Johnson and Viacom executives claimed they were providing the programming the market demanded. In 2008 a number of prominent black ministers (“Enough is Enough”) publicly protested BET programming choices outside the network’s headquarters.

Enough is Enough supported a 2008 report “The Rap on Rap” by the Parents Television Council that argued that BET’s rap programming, which they believed contained gratuitous sexual, violent and profane content, was targeting children and teens.

The controversy continued in 2010, when BET co-founder Sheila Johnson said she is “ashamed” of what the network has become. “I don’t watch it. I suggest to my kids that they don’t watch it,” she said. “When we started BET, it was going to be the Ebony magazine on television. We had public affairs programming. We had news.

The criticism has not impacted the growth and acceptance of BET and the various shows and programs they have created.  In 2013, it is reported that 79.82% of households with television receive the BET network.  However, there is no information available as to what percentage of those households chose to get the network, or receive the network as part of a larger cable package.

According to the sales material, “BET provides contemporary entertainment that speaks to young Black adults from an authentic, unapologetic viewpoint of the Black experience. BET connects with its target audience in a way no other media outlet can providing hit music, entertainment and news programming that is reflective of their experiences.  Our outstanding mega-specials keep viewers regularly tuned in for the latest and greatest in Black entertainment.”

Sep 01

Adoring today’s TV plums doesn’t need sour take on yesteryear – Boston Herald

Praising today' s TV plums doesn' t need sour take on yesteryear
Boston Herald
And it' s simplified — if perhaps comforting to those as soon as so eager to dismiss the " idiot box" as a " huge wasteland" — to act as if the switch has been from " Green Acres" to " Orange Is the New Black , " ignoring all the chromatic gradations in between

and more  »

Sep 01

Child Cudi Faints During Concert Performance

Rapper is doing well after falling ill at Chicago show.

Aug 31

Flicks of the Week: Larenz Tate & Nia Long Fall In Love

Reminisce with them in “Love Jones,” Weds. at 9:30P/8:30C.

Aug 29

The Dangers of Waist Training

Why using corsets to lose weight is wack.

Aug 29

Mattocks v. Black Entertainment Television LLC – JD Supra (press release)

District court grants defendant BET summary judgment in fit brought by creator of Facebook Enthusiast Page that promoted BET tv program The Game, concluding that WAGER had neither breached its contract with plaintiff nor interfered along with plaintiff’s alleged property interests within user “likes” on Facebook page.

In 2008, plaintiff Stacy Mattocks created an unofficial Facebook Fan Page for the television series The Game , a spectacular comedy portraying professional football gamers and their wives and girlfriends. Defendant Black Entertainment Television (BET) acquired syndication rights to The Game from your CW Network in 2009, and in 2011 it acquired the rights to produce new episodes of The Game . BET contacted Mattocks to perform part-time work managing plus adding BET-provided and approved happy to her Facebook Fan Page meant for The Game . WAGER allowed Mattocks to post proprietary content, trademarks, and logos to her Enthusiast Page and directed users to œlike” Mattocks™ Fan Page.

BET and Mattocks entered into a letter agreement in 2011, in which BET agreed not to exclude Mattocks from the Fan Page and Mattocks granted BET administrative access to the page, allowing BET full entry to update the content at its discernment. A year later, while negotiating a full-time position with BET, Mattocks demoted BET™s administrative access to the page. BET responded by terminating Mattocks™ license to use BET™s mental property and asking Facebook to migrate the œlikes” on Mattocks™ Fan Page to BET™s formal Facebook page for The Game. Facebook and Twitter complied, disabling Mattocks™ Fan Page and Twitter based on their policies protecting brand owners™ rights.

Mattocks sued BET for tortious interference along with her contracts with Facebook plus Twitter, as well as for breach of the notice agreement, breach of the duty great faith and fair dealing, plus conversion of the œlikes” Mattocks experienced acquired on the Facebook Fan Page. BET moved for summary common sense.

The court granted BET™s motion for summary common sense in its entirety. First, the court held that BET could not have got tortiously interfered with Mattocks™ user agreements with Facebook and Twitter because BET, as Mattocks™ employer and manager of the Fan Page and Twitter account, had a helpful supervisory interest in the accounts and the use of its intellectual property. Second, BET could not be liable for breach of the letter agreement or of the duty of good faith and fair dealing because Mattocks had initial materially breached the letter contract by disabling BET™s access. Lastly, the court held that Mattocks™ conversion claim failed because Mattocks failed to establish that she possessed any property interest in the œlikes” she accumulated on her Fan Page. Facebook œlikes, ” the court noted, are merely an expression by a Facebook user that he or she enjoys or approves of the content. Such œlikes, ” once given by a user, may be openly revoked if the user clicks œunlike. ” Because the owner, if any kind of, of a œlike” is the individual user and not the creator of the Facebook page, Mattocks lacked a amazing interest in the œlikes” and WAGER therefore could not have converged them from Mattocks.

Aug 29

Out and About: Ciara Struts Her Stuff in Beverly Hills

Plus, pics of Kim K., Zendaya, Estelle, Ice T and more.

Aug 27

Health Rewind: Does Eating Breakfast Help You Slim Down?

Plus, counseling does little to stop teens from drinking.

Aug 27

Be a Boss: How to Conquer Your Local Farmer’s Market

A few tips on how to prep for your next shopping trip.

Aug 27

William Greaves, TV host and filmmaker, dead at 87 – Waterloo Cedar Falls Courier

NEW YORK (AP) ” William Greaves, the Emmy-award winning co-host and executive producer of a groundbreaking television news program and a prolific filmmaker whose subjects ranged from Muhammad Ali to the Harlem Renaissance to the black middle class, has died at age 87.

Greaves died Monday at his Manhattan home after a prolonged illness, according to his granddaughter, Liani Greaves.

A minister’s son born in New York City, Greaves had a diverse background that included drawing, acting, dance and engineering. He leaves behind a vast film archive of black art and culture.

Greaves made hundreds of movies, and in the 1960s, he served as co-host and executive producer of “Black Journal, ” among the first TV news programs designed for a black audience. “Black Journal” won an Emmy in 1970 for excellence in public affairs.

He studied engineering at City College of New York, but dropped out to pursue a career in the performing arts. He joined the American Negro Theatre, where fellow members included Harry Belafonte and Sidney Poitier, and was briefly part of The Actors Studio, with Marlon Brando among his peers.

Greaves appeared in “Lost in the Stars, ” “Lost Boundaries” and other movies, but he became frustrated with the roles offered black performers, especially after being asked to play a porter in a Broadway revival of “Twentieth Century. ” He moved to Canada and immersed himself in documentary-making as part of the National Film Board of Canada.

The rise of the civil rights movement opened up chances for work in the United States, and in the early ’60s, he returned and formed William Greaves Productions. His notable documentaries included “Still a Brother: Inside the Black Middle Class” and “From These Roots, ” about the Harlem Renaissance.

In 1966, at the request of the United States Information Agency, he traveled to Senegal and filmed the First World Festival of Negro Arts, which featured Duke Ellington and Langston Hughes, among others. He also made the experimental “Symbiopyschotaxiplasm: Take One, ” what he called a “cosmic comedy” about a director (Greaves) facing a rebellion from his cast and crew. A cult favorite admired by Steven Soderbergh, “Symbiopyschotaxiplasm” was filmed in the late 1960s, but wasn’t released until 2005.

One of Greaves’ most widely seen productions was “Ali, the Fighter, ” a documentary about the 1971 championship fight between Ali and Joe Frazier, a 15-round bout won by Frazier. In a 1991 interview with The Associated Press, Greaves recalled that his biggest challenge was getting the boxers to forget he was there.

“When Ali finally caught up with the film, he was amazed, ” Greaves said. “He said, ‘How did you get that? ‘ ‘You shot this? ‘ He was involved with his own life, and he didn’t know what we were doing. ”

In 1968, Greaves was selected to co-host “Black Journal, ” a news magazine developed by National Educational Television that premiered two months after the assassination of the Rev. Martin Luther King Jr. The show was a mix of spot news, investigative reporting and satire billed as being by, for and about blacks, with segments including a Harvard University commencement speech by King’s widow, Coretta Scott King, and a feature about the black horse jockey Ronnie Tanner.

But many of the initial productions were controlled by whites. Several black staffers walked out, with demands that included a black executive producer. Greaves was given the job. He left in 1970 to continue making movies, and “Black Journal” eventually became “Tony Brown’s Journal. ”

In 1959, Greaves married Louise Archambault, who collaborated on many of his films. They had three children.

Aug 26

Wire Stars Like Bryan Cranston, Julia Louis-Dreyfus Clean Up at Emmy Honours – New York Times

E! On the web

Cable Celebrities Like Bryan Cranston, Julia Louis-Dreyfus Clean Up at Emmy Awards
New York Times
A little like the privets of privacy that enclose billionaires' estates in the Hamptons, pay wall space sequester some of the best enjoyment on television . “Breaking Bad”… “Orange Is the New Black ” tried even harder and somehow squeezed into the
Comedy stars feted with Emmys, suspense for drama awards Business Insider
2014 Emmy Nominees! You select The Winners! Vote For Your Favorites HERE! PerezHilton. com
2014 Emmys: Jim Parsons, Julia Louis-Dreyfus win humor awards CBC. ca

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