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Entertainment industry veteran La La Anthony is adding to her ever-growing résumé and serving as creative adviser at Airbnb.

The “BMF” star has joined forces with Airbnb to aid in the expansion and development of the company’s talent and entertainment collaborations.

“I’ve always been a huge fan of Airbnb and their mission and what they’re doing to bring people together, bring communities together,” she tells BLACK ENTERPRISE. 

“Because at the essence, that’s what Airbnb is about. You’re hosting your home for someone else. You’re bringing someone into your home. So I was always a fan of what they did. And when I had the opportunity to become creative adviser, I was super excited about it because now I get to use all of my relationships and my resources to really plant some great experiences and activations with Airbnb that we all can be a part of.” 

For her inaugural project with Airbnb, La La invites guests to experience La La Land, a curated accommodation in Fort Lauderdale, Florida, that’s influenced by her dynamic persona. La La carefully designed the lavish, Instagram-worthy pad to host her favorite kind of trip: a getaway with besties.

To kick off Black History Month in February, La La beckons guests to escape the winter blues by visiting the Sunshine State. A warm haven awaits, complete with palm trees and vacation vibes, allowing guests to immerse themselves in the unique travel experience that is La La Land. 

“From a diversity standpoint, it’s important to me too to also drive home things that are important to us, that are important to our communities, and things that we want to see,” La La says of the décor, adding that she curated everything from “sheets to the soap.”

While available all year, the first three one-night stays (accommodating up to 5 guests each) in La La Land are scheduled for Feb. 2, 3, and 4 at a special price of $7! This price holds significance as it pays homage to La La’s lucky number and her son Kiyan’s birthdate.

“I wanted it to be accessible to everyone and for everyone to be able to experience La La Land…I wanted to do something that was affordable and fun for everyone,” she said of the price.

Following those initial stays, the residence will be available for additional bookings throughout 2024. Whether marking a significant birthday, enjoying a weekend retreat for moms, embarking on a girls’ getaway, or simply indulging in a spontaneous escape, all visitors will relish the following amenities during their stay:

• La La-inspired artwork and modern décor that bring her fun, vibrant personality to life
• Plenty of bright, snappable spaces that have been perfectly curated for social media-worthy moments 
• Full, private access to the entire 2,491-square-foot property, including five customized bedrooms, four bedrooms, and an outdoor patio and pool for lounging
• All the amenities for a luxurious stay, including high-quality linens, a fully stocked kitchen, and haircare products from La La’s own brand, Inala 
• Guests who book the initial three one-night stays on Feb. 2, 3, or 4 will also meet La La in person, including a tour of the space—and maybe even some selfies!

For those who adore the beach, cherish friendships, and everyone falling in between, booking requests open on Jan. 24 at 1:00 p.m. ET/10:00 a.m. PT at airbnb.com/lalaland.

Guests are accountable for their own transportation to and from Fort Lauderdale. Press play below to learn more about La La’s plans with Airbnb—and what fans can expect from the new season of “BMF” on Starz.

RELATED CONTENT: La La Announces $7 ‘La La Land’ Stay With Airbnb In Ft. Lauderdale

The post La La Announces $7 ‘La La Land’ Stay With Airbnb In Ft. Lauderdale: ‘I Wanted To Do Something That Was Affordable And Fun For Everyone’ first appeared on Black Enterprise.

It’s no secret that Spike Lee is widely regarded as one of the most significant and influential filmmakers in the history of cinema, particularly in the context of African American cinematography. He’s well-known for tackling social, political, and racial issues in his work, and many of his movies, like 1989’s Do the Right Thing and 1992’s Malcolm X, have received critical acclaim. However, despite a successful and lucrative career in Hollywood, some of his movies have been underrated and misunderstood.

One of those misunderstood films is 2014’s Da Sweet Blood of Jesus, Spike Lee’s cinematic tribute to the pioneering actor, novelist, and playwright Bill Gunn. It’s well known that Lee is a student of film history and African American culture, and Da Sweet Blood of Jesus is actually a remake of 1973’s Ganja & Hess, a movie that Gunn wrote and directed nearly four decades earlier. Da Sweet Blood of Jesus is also Spike Lee’s first foray into the realm of horror, and his experimental approach to the narrative has polarized fans and critics alike.

Da Sweet Blood of Jesus follows Dr. Hess Green (Stephen Tyrone Williams), a wealthy African American art collector and anthropologist who acquires an ornate dagger originating in the ancient Ashanti Empire, whose people have become addicted to blood transfusion. After sharing a couple of drinks with his colleagues at his mansion on Martha’s Vineyard, Green ends up stabbed with the very same dagger he acquired and wakes to discover that he’s become a vampire suffering from an insatiable need for human blood. He later feeds on those same colleagues.

Soon after, the colleague’s ex-wife Ganja (Zaraah Abrahms) arrives at Hess’s house in search of her ex-husband, and Ganja and Hess quickly become lovers. Soon after, Hess turns Ganja into a vampire so that the two may share immortality.

However, after a while Green becomes tired of his vampiric life and decides to end it. Ganja, though saddened by his death, presumably continues her vampiric un-life. The narrative is basically the same as that of the 1973 original, but the subtleties are vastly different.

For example, the original Ganja & Hess had a psychedelic and dreamlike expansiveness, whereas Lee’s remake alternates between sleepy exchanges and unhinged, earthy wallows in gore and eroticism. The remake is sprinkled with the usual social, political, and racial themes Lee’s known for. Another example is the vampiric couple’s behavior towards others, which is often marked by intentional and inadvertent shows of classism and cruelty. Green goes out into the night and feeds on a prostitute, only to later discover that her blood is HIV-positive, while Ganja treats their house staff like dirt and even feeds on Green’s loyal domestic servant.

These added subtleties bring forth Lee’s usual symbolism, but much of the original narrative remains. The movie uses so much of the original dialogue that Lee actually credits Bill Gunn as a co-writer of Da Sweet Blood of Jesus. Critically, the movie received a mixed reception, with many praising Lee’s willingness to experiment with different genres and themes, while others finding the movie confusing and incoherent. Perhaps therein lies the explanation as to why Da Blood of Jesus remains one of Lee’s most misunderstood films.

A lot of that reception comes from genre and audience expectations. As stated at the beginning, Lee is known for his socially and politically charged movies, and Da Sweet Blood of Jesus most certainly doesn’t lack any of that charge. However, one must scratch a bit deeper to find all the hallmarks of a Spike Lee Joint. On the other hand, Da Sweet Blood of Jesus isn’t a typical vampire flick. In fact, neither Hess nor Ganja sprout fangs, nor do they sleep in separate or even co-joined coffins. They’re not actually afraid of or affected by sunlight.

The lack of these traditional horror elements, as well as the lack of suspense and jump scares, didn’t sit well with the horror-loving fans who might’ve expected more from a movie made by one of the greatest names in cinema. Instead, it focuses on thematic exploration and moral dilemmas, which ultimately leads to a mismatch for viewers expecting a more traditional horror experience. Finally, being a remake of the 1973 original, Da Sweet Blood of Jesus invited comparisons with its source material.

Both movies have basically the same narrative, and both Gunn and Lee have woven cultural and socio-political themes surrounding race and identity in symbolic and abstract ways. The critics, as well as the fans of the original movie, felt like Lee’s offering didn’t really capture the depth or the complexity of Ganja & Hess. Ultimately, the misunderstanding of Da Sweet Blood of Jesus seemingly stems from the fact that the movie is trying to be three things at once: a horror movie, a Bill Gunn tribute movie, and a Spike Lee Joint.

Instead, Da Sweet Blood of Jesus ended up being a mess, but a mess that can be attributed only to one of the greatest filmmakers in cinematography.

In a tribute to Black pioneers of the past and present, Timberland, a VF Corp-owned footwear brand, has launched the Black Pioneer Collection and an accompanying campaign to mark Black History Month, according to FootWearNews. The collection, a collaborative effort by Timberland footwear designers Shari-Lee Whyte and Andrew Townes, introduces reimagined editions of the iconic Premium 6-inch Boot and the Euro Hiker.

The design of both footwear styles incorporates “hairy” green suede accents, symbolizing the lush greens and textures of nature, set against a rich hue of premium, seam-sealed, waterproof Timberland leather. The Black Pioneer Collection extends beyond footwear, featuring an array of apparel pieces such as an embroidered tree hoodie, a utility mixed media jogger, a short-sleeve embroidered pocket tee, an anti-UV long-sleeve shirt, Brookline utility cargo shorts, and a canvas and leather backpack.

Townes emphasized the significance of showcasing the outdoors and inclusivity for everyone through this collection. “This allowed us to bring awareness to Black Pioneers and outdoorsmen across the globe,” he stated. Whyte added, “We took the concept of fresh traditions with the charm of old-school Americana and elements of contemporary African American dress to create an outdoor-inspired lifestyle collection.”

To bring the collection to life, Timberland collaborated with the legendary Oklahoma Cowboys, a family-run and community-rooted organization, as an ode to the enduring and transformative power of community. As part of its commitment, Timberland will donate $50,000 to the Oklahoma Cowboys Foundation, aiming to raise awareness and celebrate the significant role of Black cowboys and cowgirls in Oklahoma’s equestrian heritage.

This initiative follows Timberland’s recent collaboration with Louis Vuitton during Paris Fashion Week, where the brand made waves with a fall 2024 men’s show debut. The collaboration featured a classic industrial boot in wheat-colored or black waterproof nubuck leather, embossed with the Maison’s monogram, marking a noteworthy presence in the global fashion scene.

The Black Pioneer Collection is now available on Timberland.com, Timberland stores, and select specialty retailers worldwide. This move reinforces Timberland’s commitment to diversity, heritage, and community and reflects its dedication to both style and substance.

RELATED CONTENT: Timberland Honors Black Creators and Nonprofits in New Black History Month Campaign

The post Timberland Celebrates Black Cowboys With Black Pioneer Collection first appeared on Black Enterprise.

Speaking with a dear friend of mine recently, we both expressed our thoughts about getting older. We’ve known each other since we were kids, so our thoughts ran freely. My friend also talked about her feelings of having no partner or spouse, siblings, or children, and it dawned on her that there were no other family members to care for her once she became much older. She is one of the nearly one million Americans referred to as kinless, as well as part of the 62 percent of Black women unpartnered.  

Nearly seven percent of American adults aged 55 and older have no living spouse or biological children, according to a study published in 2017 in The Journals of Gerontology. Researchers often use the term kinless, because spouses and children are the relatives most likely to serve as caregivers. Unfortunately, this overlooks the support systems single Black women build. It also perpetuates the gloom and doom narrative that single Black women are given. Why does there have to be a cost for being single?

As a Black woman, and many other Black women I know, I was raised to push past stereotypes and the status quo. There was always a focus on obtaining my education and taking care of myself. The nostalgia for a husband was not present for me growing up. I did get married, but it unfortunately ended. However, I have been in a committed relationship for quite some time, and blessed with two bonus children.

Although unmarried, I have a constant companion; someone that is here and will hopefully be here as I grow older. For my friend, rather than a constant companion, there’s a fleeting feeling like having long-term financial security; travelling more; owning a home — an absence that can be acknowledged without threatening day-to-day satisfaction. Unhappy about a life thus far unlived doesn’t displace the joy found in a life that is currently being lived. My life, or my friend’s life, might not look like the one a lot of our white counterparts have been taught from birth to strive for — a husband, a house and two kids — but it is a happy one.

Finding acceptance in singlehood almost feels like you have to give up on yourself, like you’re releasing agency over your love life, or somehow giving power to the unrelenting false narrative that Black women are undesirable. No matter how basically it’s presented, there’s nothing neutral about the statistics. It’s read as a problem Black women must fix, or worse, that Black women are a problem that must be fixed.

The pandemic only exacerbated some Black women’s uncertainty about the supposed connection between marriage and happiness. Yes, the pandemic was lonely for singles. It was hard and lonely for all of us, for that matter. Often, when discussing singleness, there is a focus on what is lacking from a life unpartnered. Rarely do we consider what must be substituted for a life lived with someone else.

I believe that Black women’s singlehood is often considered a threat. My reasoning is that if you’re able to create a full life on your own, then maybe other lives are possible. Maybe, just maybe, your world is opened up to see things you never knew possible. Black women are constantly told that being unpartnered is the worst thing that can happen to you. That narrative discounts the joy and achievement that we can bring to ourselves. That’s not to say that single Black women don’t want children or partnership. But we don’t have to settle in fear of being alone.

Our society assumes that everyone has at least some family, but it’s really not the case. Several demographic factors have fostered increased kinlessness. Baby boomers have lower marriage rates and higher divorce rates than their parents, and more have remained childless. The rise of gray divorce (divorces after age 50) also means fewer married seniors, and extended life spans can make for more years without surviving family.

Black women have always considered relationships and connections beyond biological. Our family extends to the best friend since grade school, or the college roommate that has been with us through thick and thin. However, these supportive networks do not receive legal benefits like the bonds of marriage and biological family. This is where I find myself — being in a relationship but not married. My bonus children are not my biological children. So, on paper, my siblings would need to step in to make decisions on my behalf.

In my state of California, a research and policy project called Master Plan for Aging is a framework for supporting California’s population of Black residents who are 60 years and older. The initiative stems from Governor Gavin Newsome’s executive order to develop a strategy to promote the health and well-being of older Californians. It also centers Black women addressing the unique concerns of what equity in aging needs to look like.

I am not yet 60 years old. But as I get older, I think more intently about what that will look like. I think about my friends who are closer to that age, and the thoughts and worries that are beginning to set in for them as well.

Achieving equity for Black women as they age requires policy changes to redefine standards around relationship status and worth. Everyone deserves the basics of human dignity. A Black woman’s value is not defined by marital or romantic relationship status, and our rights, benefits, and protections should not be linked to those statuses.