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https://www.blackenterprise.com/miami-the-source-black-owned-tech-hub/

Downtown Miami welcomed a new addition to its tech ecosystem Feb. 15 with the grand opening of The Source, a Black-owned tech center, according to the Miami Herald.

The project was led by Miami Gardens native Ted Lucas, founder of Slip-N-Slide Records, and his business partner Hilmon Sorey, a seasoned venture capitalist with investments in over 100 companies, including Uber and Lyft.

“If you look like me, I want to see how you are going to help my community,” Lucas said. “That’s very important to me.”

The Source aims to foster local tech talent and support students, startups, and small businesses through accelerators, workshops, and networking opportunities. 

Lucas recognized Miami Mayor Francis Suarez’s efforts in attracting tech founders to Miami and engaged with him during the COVID-19 pandemic to explore ways for Black residents to actively participate in the burgeoning tech scene.

“It’s important to have a space like this because there are a lot of different organizations handling different aspects of the tech ecosystem,” said Stefan Owens, head of Growth and Investment at The Source. Miami-Dade Commissioner Oliver Gilbert III, who attended the grand opening, expressed confidence in The Source’s commitment to supporting startup founders and empowering others.

Through a partnership between Lucas’ Tech Knowledge organization and Florida Memorial University, The Source has supported tech boot camps, training local residents for future tech jobs. “Within the last two years, we’ve invested $500,000 in startup companies, and we’re just getting started,” Lucas said.

Desiray Malcolm, a single mother of two from Miami Gardens, who worked in warehousing, participated in a tech boot camp at Florida Memorial University. Later, she secured became an account manager at Kaseya.

“They say this is the beginning for The Source, but I feel like we’ve already taken off,” Malcolm said.

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https://www.essence.com/entertainment/why-black-shows-getting-canceled/

By Shelby Stewart ·Updated February 26, 2024

She’s Gotta Have It. Raising Dion. Survivor’s Remorse. Girlfriends. These shows are but a glimpse into the Black shows we’ve seen get the boot over the years. Black television shows are woven into our collective consciousness; it’s where we as Black people can escape, and see ourselves reflected on screen. It’s where we can say, “I’m sorry I lied to you Martin,” and everyone understands the phrase. Yet and still, these shows are only memories now, victims of network and studio decisions to cut them.

January bore witness to the cancellation of Issa Rae’s Rap Sh!t after just two seasons, joining the somber cadence that shrouds other shows such as South Side severed after three seasons, Netflix’s The Get Down, and FX’s Kindred after a singular season, abandoned in the wave of cancellations.

The frequency in which we’ve seen these shows get cut on the showroom floor has been far more dense than its white counterparts, and it’s slowly beginning to be tougher to just enjoy the beauty of Black life on screen without fear of shows meeting an untimely demise. So much so that ESSENCE created a running list of Black Shows That Got The Axe in 2023.

Black stories find themselves dimmed by an incessant storm of premature farewells—Lovecraft Country, A Black Lady Sketch Show, and Love Is__, just to name a few. We see ourselves represented on screen only to become collateral damage in the name of budget cuts, leaving behind a void in the hearts of viewers who want to see Black life depicted on television. 

From the Black viewer’s gaze, these show cancellations are more than just a disappointment, they serve as a powerful reminder of how fleeting cultural impact can be on TV. Shows with familiarity, that aren’t rooted in Black trauma, face an untimely eclipse, extinguished before their stories can truly unfold. 

With Kindred, as reported by Deadline, the show debuted to “largely positive reviews” and did manage to secure a viewership. However, despite having an audience, it faced challenges in generating the level of buzz observed with its FX counterpart, The Bear. The disparity in the reception between the two shows underscores a dynamic where audience engagement and cultural relavence played pivotal roles in a show’s overall success — positive reviews and viewership alone might not guarantee the impact needed to secure a place in the cultural zeitgeist.

The lack of diversity in decision-making positions within the entertainment industry is a glaring issue. The scarcity of Black executives in key roles can lead to a fundamental misunderstanding of the unique narratives and significance that Black shows bring to the screen. Without representation at the decision-making table, these shows may struggle to secure the necessary support and advocacy for their continued production.

It’s why rapper and creative Vince Staples is championing his new Netflix series online in hopes of renewal. In response to a fan asking where are the remaining episodes of Staples’ eponymous show, he replied, “Netflix didn’t buy anymore episodes so make sure you hit that double thumbs up. Peer pressure worlds and I’m tryna re up.”

Netflix didn’tbuy anymore episodesso make sure you hit that double thumbs up. Peer pressure works and I’m tryna re up. https://t.co/9WmUuCCMVv

— vince (@vincestaples) February 17, 2024

Staples isn’t the only Black creator who is speaking out either. Issa Rae also recently spoke out following Rap Sh!t’s cancellation. “I’ve had faith in the talent I have to captivate a very specific audience – and I think about that audience constantly,” she told Porter in a recent interview. “You’re seeing so many Black shows get canceled, you’re seeing so many executives – especially on the DEI [diversity, equity and inclusion] side – get canned. You’re seeing very clearly now that our stories are less of a priority.”

When traditional metrics like viewer ratings and ad revenue come into play, it leaves you to wonder – so many amazing shows, that had quality viewership, why do they end up executed? These metrics complicate the landscape for Black shows. The industry has done these shows such a disservice, by those metrics, because they don’t account for the cultural impact and relevance that they have. 

“I’ve never seen Hollywood this scared and clueless, and at the mercy of Wall Street,” Rae told TIME. “Now these conglomerate leaders are also making the decisions about Hollywood. Y’all aren’t creative people. Stick to the money.”

When these shows end, it’s not just an anomaly, it’s cultural erasure. The stark absence of equitable representation and decision-making power for Black creators is apparent. The narratives birthed from the depths of Black experiences find themselves lost by those who lack the acumen to comprehend the subtleties that make these stories both authentic and indispensable.

In a post-SAG strike environment, it’s tough to forecast the viability of a lot of television shows, though there’s a stark contrast in the stakes for predominantly white shows like Grey’s Anatomy, now in its 19th season, or Law & Order: Special Victims Unit, on its 25th or even The Walking Dead, and it’s many iterations and offshoots. To put it in perspective, the longest Black running show, Soul Train, which began in 1971 and went off air in 2006. Following right behind it was The Jeffersons, which ran for 10 years, and ended in 1985. 

As the canceled shows fade away, there’s a crucial moment for change in how Black stories are treated. This calls on both the entertainment industry and society to create an environment where these stories can thrive without facing early cancellation. Black viewers hold these stories dear, and they persist, ready for a revival that ensures their lasting impact in television history.

TOPICS:  black shows Issa Rae vince staples

The post Why Are So Many Black Shows Getting Canceled? appeared first on Essence.

https://www.blackenterprise.com/diverse-representation-black-sports-professionals/

A record-breaking 123.7 million people tuned into Super Bowl LVIII on Feb. 11, watching the Kansas City Chiefs secure their second consecutive championship and R&B superstar Usher Raymond bring a taste of A-town to Sin City during his halftime performance.

Yet, beyond the big game, it’s the league of professionals working behind the scenes that keep the NFL and its players operating efficiently. Those representing athletes don’t get nearly as much recognition as the players on the field. Meanwhile, it’s often even harder for Black professionals to break into or get opportunities for advancement within the sports industry. That’s why sports and entertainment attorney Jaia Thomas, Esq. launched Diverse Representation, an organization dedicated to increasing the hiring and exposure of African Americans in sports and entertainment.  

“I was tired of seeing so many Black athletes and Black entertainers represented by white agents, white attorneys, white managers, and white publicists. I wanted to make sure that more of them were being represented by people who look like them,” said Thomas while in Las Vegas for Super Bowl weekend. “The company started as just a directory of all the Black attorneys, agents, managers, and publicists in sports and entertainment. Since then, we’ve grown into different programming and events.”

Ahead of Super Bowl Sunday, Thomas partnered with the Minorities in Sports Business Network to host the second annual “Toast to Black Sports Luncheon” on Feb. 8, honoring two of the five Black NFL team presidents: Jason Wright, president of the Washington Commanders, and Kevin Warren, president of the Chicago Bears.

“Usually during Super Bowl weekend, a lot of emphasis is placed on celebrating players and the people on the field. We just felt like there still wasn’t enough celebration of the people behind the scenes — the agents, the owners, the executives,” Thomas told BLACK ENTERPRISE at the luncheon. “There really wasn’t an event like this during Super Bowl weekend specifically for Black professionals in sports. So, we wanted to create a space to congregate, celebrate, [and] network with Black professionals in the industry.”

Held at Brezza, a refined Italian steakhouse on the Las Vegas Strip, the intimate ceremony included a select group of former NFL players, sports agents, and executives from Goldman Sachs, which sponsored the event.

“Jason is the very first Black president in the NFL. Kevin is the most recently hired president in the NFL, so they’re kind of bookends in terms of Black presidents in the NFL,” continued the Los Angeles-based lawyer. “They’ve both done amazing work within their tenure as presidents and we wanted to honor and celebrate them and encourage them to keep on going.”

While accepting his award, Wright reflected on Warren’s legacy as a mentor and trailblazing Black sports executive. Warren then shared a moving testimony about how he recovered from a debilitating car accident as a child and has since leaned on his faith for guidance, especially during challenging times in his career.

“They both gave amazing, fantastic inspiring speeches upon receiving their awards. They really lit up the room, and I think a lot of people left very inspired,” said Thomas.

Following the lunch, Warren told BE that the key to career elevation is faith and identity.

“We need to embrace our background, our heritage, but also just having a strong faith. I found it makes life more simple when you just follow the voice and the wisdom and the heeding of God,” he said.

Wright told BE that he’s optimistic about the NFL’s diversity efforts and acknowledged the accomplishments of all the three other Black team presidents: Sashi Brown of the Baltimore Ravens, Sandra Douglass Morgan of the Las Vegas Raiders, and Damani Leech of the Denver Broncos.

“Sandra led the league and ticket revenue. Kevin is making progress on a new stadium deal. Damani did a major renovation. The Ravens continue to outperform for their market. We led the league in all these revenue growth categories,” he said. “The belief in Black intellect to run businesses in terms of dollars and cents is growing, and more people will get opportunities in the future.”

In addition to the luncheon, Diverse Representation partnered with William Morris Endeavor, one of the largest sports and entertainment talent agencies in the world, to host a networking event for diverse agents, executives, and managers working in sports and entertainment. The lounge included an open bar, light bites, and a gifting suite featuring Black-owned products such as Tracee Ellis Ross’ PATTERN Beauty, Brandon Blackwood, WILL Perform by Serena Williams, and Harlem Candle Co. The event also featured an exclusive fireside chat with sports broadcast journalists and WME clients Jemele Hill and Cari Champion.

“There’s a lot of attacks on diversity, equity, and inclusion,” said Hill during the discussion, noting the weaponization of critical race theory by right-wing conservatives. “What I have seen and witnessed is that those same companies that were pledging to listen to Black folks and to do better by Black folks just three, four years ago after the unfortunate murder of George Floyd have all gone running,” she continued. “This is the thing that people have to understand when it comes to supporting marginalized communities: it’s a tough fight.”

At another point during the conversation, Champion praised Hill for her unwavering support throughout her career and the opportunities Hill gave her while they were working for ESPN.

“When I didn’t believe in myself and I didn’t think I mattered, she had my back,” said Champion. “When I didn’t think that my voice was important in sports and I didn’t think anybody cared about what I said, she invited me on her show to talk about my opinion. She helped me develop a voice. She already had the street credibility, she already had the acumen, and I was a new girl coming in.”

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https://www.thenerdelement.com/2024/01/30/sundance-2024-sugarcane/

Review by Désirée Guzzetta

Headline: “Sugarcane” A Hard But Necessary Watch

CW: Discussion of childhood sexual abuse, rape, and other horrific acts

The beginning of “Sugarcane,” a new documentary which premiered at the 2024 Sundance Film Festival, sets a sober tone right away in its brief history of Indian residential schools. In describing that history, it’s revealed that in 1894, the Canadian government wanted to “get rid of the Indian problem” by forcing First Nation children into segregated schools run by the Catholic Church.

Such callous disregard for Canada’s indigenous population resulted in generations of trauma, trauma which was thrust into the spotlight in 2021 with the discovery of 215 children’s bodies found in unmarked graves.

Directors Julian Brave NoiseCat and Emily Kassie, who won the U.S. Documentary Directing Award at Sundance, take great care and sensitivity in detailing what happened at St. Joseph Mission, the residential school where many of the children from the Sugarcane Reservation, including Julian’s father, Ed Archie NoiseCat, experienced horrifying abuse.

“Sugarcane” follows several individuals, each seeking to understand and/or tell the truth of what happened to them as children trapped in a school with priests who were supposed to educate and protect them, but instead wounded them deeply. Former Williams Lake First Nation Chief Rick Gilbert wants to get not just an acknowledgment from the Church about what happened, but accountability and redress. Current Chief Willie Sellars receives horrible emails blaming the First Nation for not doing a better job of protecting their children. The investigators, including Charlene Belleau and Whitney Spearing, want to help bring healing to their community while bringing out the truth to the wider world. A picture of Belleau as a child at St. Joseph shows her connection to the collective trauma of Williams Lake.

Then there’s Julian himself, who works together with Ed to get to the bottom of Ed’s own traumatic experiences at the residential school, made more difficult by the fraught relationship they have due to Ed distancing himself from his son for years. Ed’s mother won’t talk about what happened, either. It’s a cycle of shame and guilt perpetuated by the school’s priests and authorities that fractured both families and psyches.

NoiseCat and Kassie give a unique narrative structure to the document, threading news reports throughout like guideposts to the different parts of the investigation, beginning with the discovery of the 215 bodies, and including a trip to the Vatican taken by Chief Gilbert and other Indigenous people who were invited there by Pope Francis. 

The directors also use archival footage of the school, which shows seemingly happy children learning and praying, a huge contrast to the stories of rape and suspected human trafficking that emerge the deeper the investigation gets. The children were further dehumanized by being assigned and referred to by number, not name, as well.

There are also contrasts in “Sugarcane,” from Julian participating in a traditional dance contest to other young people skateboarding around the same event. But the effects of the traumas of St. Joseph Mission permeate even there as the event’s announcer acknowledges the survivors of the residential schools.

One interviewee, Jean Williams, astutely observes that the “ones that were telling us it was a sin were the ones that did all the action,” and it’s frustrating to learn that so many of the abusers escaped prosecution. Scenes of inscriptions the children left on the walls of the mission’s barn are heartbreaking, and some of the stories told are chilling. For example, Rosalin Sam, a survivor, tried to report her abuse and after being given the run-around by adults eager to pass the responsibility on to someone else, she is beaten by her father when she reveals what happened. To cope, she starts drinking. She was still a child.

The last residential school closed in 1997 and there were hundreds of them across Canada and the United States, according to the film. As of the time “Sugarcane” was completed, the St. Joseph investigation was ongoing and 50 other institutions were being searched for unmarked graves.

“Sugarcane” is not an easy watch, but it’s a necessary one. NoiseCat and Kassie’s direction doesn’t linger on the survivors’ pain but doesn’t flinch from it, either. One of the more moving discussions in the film is also one we aren’t privy to see, but only hear. A shot of a dark sky with light between it and the horizon illustrates both the difficult nature of the conversation and the hope engendered by confronting and dealing with painful memories.

During his trip to the Vatican, Chief Gilbert, who has since passed away and to whom the movie is dedicated, visits the Obligata di Maria, the Order that sent priests to St. Joseph’s. He recounts the generations of his family that were abused, including himself, mother, and grandmother, and the priest he speaks with more or less attributes the abuser’s actions to mental illness. In the one scene in the film where the camera does linger, it’s on the uncomfortable silence between Chief Gilbert and the priest as Chief Gilbert waits for an apology. It takes a long time for the priest to speak, although the apology he offers rings hollow. Still, Indigenous people such as the ones who speak out in “Sugarcane” are there to make sure the silence is broken and accountability is taken.

The post Sundance 2024: Sugarcane appeared first on The Nerd Element.