Entertainment

TV Networks Make Unequal Progress Toward On-Screen Diversity

Published

12 years ago

January 21, 2015

In this image released by ABS, Anthony Anderson, left, and Tracee Ellis Ross appear in a scene from “Black-ish.” The series was created by Kenya Barris, who was motivated to write the comedy about an African-American family’s efforts to honor its heritage in part by the unreality of what he grew up watching on television. (AP Photo/ABC, Kelsey McNeal)

DAVID BAUDER, AP Television Writers
LYNN ELBER, AP Television Writers
FRAZIER MOORE, AP Television Writers

Kenya Barris, creator of ABC’s “black-ish,” was motivated to write the comedy about an African-American family’s efforts to honor its heritage in part by the unreality of what he grew up watching on television.

“I saw ‘Friends’ and ‘Seinfeld’ and thought, ‘What part of New York is this?'” recalled Barris, who is black. “It’s not about being diverse. It’s about being true to the world.”

His show comes 15 years after civil rights groups, galvanized by a lineup of new network series almost entirely devoid of minority characters, sought and ultimately won agreements from major broadcasters to put programs on the air that better reflect the nation’s population.

An AP analysis of regular cast members on prime-time comedies and dramas on ABC, CBS, NBC and Fox found progress since then in hiring black actors, but slighted other minorities. Casts at three of the four networks are still whiter than the nation as a whole.

That’s in contrast to a fall 2014 season that seemed to signal broad change. Besides “black-ish” and a trio of shows from black megaproducer Shonda Rhimes, it offered Asian-American crime fighters and Latino families.

Among the key findings of the AP analysis:

— ABC, NBC and Fox now have a higher percentage of blacks in prime time than there is in the general population — a significant change over 1999. The difference is most dramatic at Fox: 6.5 percent of characters in lead or supporting roles were black in 1999 to 21 percent black this past fall, a number that notched up again with January’s premiere of “Empire,” a drama about an African-American family’s music dynasty.

— Other ethnic groups don’t do nearly as well. While Latinos are the nation’s largest minority group at more than 17 percent of the population, only Fox and ABC have Latino representation of as much as 10 percent.

— CBS, the nation’s most popular network, had the most diversity 15 years ago and now has the least. CBS programs are whiter now than they were then.

Time has not made broadcast’s role moot. Network fare remains dominant for most consumers despite an explosion of niche cable channels and streaming services that cater to seemingly every possible demographic. What Americans see — or fail to see — on the networks has a powerful impact on how individuals regard themselves as part of the nation’s mosaic.

Gina Rodriguez, the Golden Globe-winning star of the CW’s new telenovela-inspired comedy “Jane the Virgin,” knows what it’s like to be left out of the TV picture.

“Ten years ago, when I was looking at that screen and didn’t see myself at all, I knew there was no place (for me). Or I was too out of the box, too much of a risk,” she said. “People say this (show) is too much of a risk. … Which is so sad, because it’s the same story, just told by a new face.”

CHANGING ATTITUDES

In 1965, after NBC cast Bill Cosby in “I Spy,” young Kweisi Mfume’s mother sent her son to knock on doors in their Baltimore neighborhood to spread the word: “There’s a colored man on TV!” Cosby had become the first black to star on a network drama. In 1999, as head of the NAACP, Mfume was among the leaders pressuring networks on diversity.

“One can make the argument it’s been progress over 15 years, but it’s still been 15 years and that’s a lot of time to go by to see some of these changes incrementally,” said Mfume. “We can get pleasantly and romantically drunk by looking at all (Rhimes) is doing. … But at the same time, she’s one person at one broadcast network.”

Hollywood’s commitment to diversity has been an issue on numerous fronts in recent weeks: Not a single Oscar nominee in an acting category is black, and the critically acclaimed “Selma” got just two Oscar nods for best picture and best original song. Emails exposed by the Sony Pictures hacking revealed racist jokes referencing President Barack Obama by Amy Pascal, head of that studio’s film division. Comic Chris Rock wrote a detailed essay for The Hollywood Reporter saying that entertainment is a white industry, “just as the NBA is a black industry.”

Granted, TV history contains minority success stories. Desi Arnaz loved Lucy in the 1950s; “Good Times,” ”The Jeffersons” and “Chico and the Man” were popular in the 1970s, the same decade that the “Roots” miniseries set viewership records; and Cosby was TV’s father figure in the 1980s.

But whether due to timidity or cluelessness on the part of executives, or segregation unwittingly enabled by the growth of niche networks, that picture did not translate to lasting diversity on the networks. By the fall of 1999, ABC, NBC and Fox each had prime-time casts that were 86 percent white — at a time when the U.S. Census put the non-Latino white population at 71.9 percent.

In fall 2014, with the non-Latino white population estimated at 62.6 percent, CBS’ series cast and characters were 79.2 percent white; ABC’s were 72.7 percent; and NBC’s were 69.7 percent. In contrast, Fox’s slate stands at 60 percent white.

The Census Bureau counts blacks as 13.2 percent of the U.S. population. Blacks made up 15 percent of cast members in fall shows on ABC and NBC.

“We try to make sure the numbers we have reflect our society,” said Karen Horne, NBC’s vice president of programming talent development and inclusion. “We’re servicing people we’re broadcasting to.”

Dana Walden, chairman and CEO of the Fox Television Group, said race wasn’t even brought up when she was told that Nicole Beharie, who is black, was cast as the female lead in “Sleepy Hollow.”

“To me, that represents a quantum leap from where I’ve seen this industry start when I was a young executive,” Walden said.

Stephanie Beatriz, who plays a police detective on Fox’s sophomore comedy “Brooklyn Nine-Nine,” worked extensively in theater and enjoyed the freedom of appearing in a range of “colorblind” stage roles as well as playing specifically Latina characters.

“Then, coming to L.A., I realized there’s still a lot more narrow-mindedness in where I’m ‘allowed’ to fit in. But at the same time I do see it changing,” said Beatriz, one of two Latinas in her show’s nine-member ensemble. “There’s been an explosion of different types of people in television.”

CBS CASTS WHITER

Such even-handed treatment is what the NAACP and other groups sought. In response to a hearing held by that group in 1999, top CBS boss Leslie Moonves pledged improvement.

“We’re not only putting it in writing,” Moonves said. “We’re putting our money where our mouth is.”

But CBS’ Fall 2014 lineup did not show improvement: The number of white characters was up, and black representation had slipped to just under 7 percent, less than half what it was in 1999, according to the AP’s tally from the network’s own cast lists.

“We are victims of our own success to a certain extent,” said CBS Entertainment President Nina Tassler by way of explanation.

CBS has been the most-watched network in prime time for much of the past decade and, as a result, has had less programming churn. The network’s audience is also older than its rivals. All of that is a recipe for conservative program and cast choices, while a network with more series turnover, like ABC, is apt to take more chances.

When CBS launched a new comedy about an Irish-American family from Boston (“The McCarthys”) this fall, all the stars were white. “Mom,” another CBS comedy, also has an entirely white cast.

But Tassler (who is a Latina) said the network has not become complacent about the issue and makes diversity a big part of its casting discussions. “What I think is most important is keeping the conversation going, never feeling like it’s ‘mission accomplished,'” she said.

Tiffany Smith-Anoa’i, who oversees CBS’ diversity efforts, noted that progress in diversity is more than a black-and-white issue. She pointed to the prominent role on “The Good Wife” of Archie Panjabi, who is Indian, and Asian actress Maggie Q’s lead role on this fall’s new “Stalker.” Asian actress Lucy Liu co-stars on “Elementary.” On “The McCarthys,” one of the family members is gay, she said.

Jennifer Salke, NBC’s entertainment president, says shows with all-white casts “would just never fly” at NBC: All 13 of the network’s scripted shows this fall had at least one minority cast member.

“It would be a big surprise to us if somebody (pitching a series) said, ‘My ensemble character show has an all-white cast,'” she said.

None of the minority cast members on those 13 shows, however, enjoys marquee status: Even on “State of Affairs,” a drama in which Alfre Woodard plays President Constance Payton, Katherine Heigl is the designated star. On ABC, which has a nearly identical percentage of blacks on the air as NBC, Kerry Washington is the leading lady of “Scandal.” Viola Davis is clearly No. 1 on the call sheet on “How to Get Away With Murder.” And Anthony Anderson and Tracee Ellis Ross share top billing on “black-ish.”

ON-SCREEN AND OFFSCREEN ISSUES

Barris (who before “black-ish” created “America’s Next Top Model” and wrote for the sitcom “The Game”) said the important question for networks is whether they are giving a voice to people who are watching their channels — including blacks, who watch more TV than whites, according to the Nielsen company.

“Black culture is not monolithic,” said Barris, “and there are a million different voices. But our show can be ONE of the voices.”

The same goes for Latinos, said Eva Longoria, the “Desperate Housewives” star who’s also a producer, with series including “Devious Maids” for Lifetime and the newly announced sitcom “Telenovela” for NBC.

“Don’t just tell the immigrant story,” she said. “Tell the story of the doctor and tell the story of the lawyer and tell the story of the romantic comedy and the genre story.”

People who follow the issue say a key way to boost a minority presence on-screen is to step it up offscreen. But too often that isn’t part of the equation.

Rhimes is arguably the most powerful producer in television these days. ABC has turned over to her its entire Thursday-night prime-time lineup, where she delivers weekly episodes of “Grey’s Anatomy,” ”Scandal” and “How to Get Away With Murder.”

“I remember growing up,” said Rhimes, now 45, “and thinking, ‘Why doesn’t TV look like the world that we live in?’ There were no older people, no larger people, no people of color, no gay or interracial couples. It didn’t make sense to me.”

When she created “Grey’s Anatomy” a decade ago, she was determined to make it “look like the world outside looks. And it was really easy to do. We said, ‘Actors of all colors — everybody show up for every role! We’re gonna cast the best actor for each part.'”

A report by UCLA’s Ralph J. Bunche Center for African American Studies illustrates how much of an outlier Rhimes is: During the 2011-12 television season, minorities were credited as creating just 4 percent of broadcast comedies and dramas, the report said. The writing staffs for a majority of scripted shows were at least 90 percent white.

A new Directors Guild of America study found a similarly lopsided picture among entry-level directors of TV series between 2009 and 2014, with men representing 82 percent of first-time directors and whites at 87 percent.

That lack of progress within executive suites and the creative ranks is what most saddens Mfume when he looks back at the NAACP’s efforts in Hollywood. It’s also one of the reasons filmmaker Robert Rodriguez started the El Rey network aimed at English-speaking Latinos. “You can only tell a network so long to cast a Hispanic,” Rodriguez said. “But if there’s nobody writing the roles or creating the roles, it’s even fundamentally a larger problem.”

More recently, the networks began hosting showcases specifically designed to give exposure to talented minorities, like the comedy event CBS organizes for actors every January. Fox holds a forum, “Seizing Opportunities,” where the creative community is brought in to learn how diversity can be good business. ABC does separate workshops for black, Latino and Muslim writers seeking to break into the industry.

“Whether it was under pressure or whether it was the right thing to do, all of the programs that we set up planted seeds that are really blossoming now,” said Paul Lee, ABC entertainment president.

A participant in a CBS showcase this month, Judilin Bosita, an Asian-American actress, said she’d grown used to auditioning for “smart, technical roles” such as the nurse she’s played on “Days of Our Lives.”

The event — a night of comedy sketches performed for industry insiders — “shows them what we can do,” Bosita said, helping to replace outdated ideas with a new epiphany: “‘Oh, wow, there’s a whole slew'” of talented people of every background.

The importance of the efforts is underscored by Jason George, whose acting credits include a recurring role on “Grey’s Anatomy” and who works on diversity issues for the Screen Actors Guild-American Federation of Television and Radio Artists. George said that when he was hired at a soap opera in the 1990s, a writer proudly told him that they had purchased an urban dictionary to help them write scenes he was in authentically.

That’s OK, George assured him: “Just write normal dialogue.”

Now minority actors increasingly are being given more well-rounded roles, George said.

“You’re suddenly a person and not just a representative of a culture,” he said. “As an actor, that’s what you want.”

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Black Press

Should You Have to Pay to Hear the Gospel?

ST. LOUIS AMERICAN — Pastor Philip Anthony Mitchell of Atlanta’s 2819 CHURCH and Tim Timberlake of Celebration Church in Jacksonville, Florida, are at the center of a social media debate. The controversy stems from ticket prices for their “Street Preachers” podcast tour, with general admission tickets reportedly costing around $60 and VIP options up to $200.

Published

1 week ago

October 7, 2026

BlackPressUSA Newswire

A sold-out podcast tour featuring Pastors Philip Anthony Mitchell, left, and Tim Timberlake has sparked debate over the boundary between spreading the Gospel and selling an experience. Critics question whether ministers should charge admission to hear the Gospel, with tickets including a $200 VIP package. — Photo courtesy of Street Preachers Podcast

For generations, the Black church has passed the offering plate to keep the lights on, pay the preacher, help the poor and carry the Gospel beyond its walls. But what happens when the preacher leaves the sanctuary, takes a popular Christian podcast on tour — and charges admission?

That question has placed Pastor Philip Anthony Mitchell, founder and lead pastor of Atlanta’s fast-growing 2819 CHURCH, at the center of a heated social media debate.

Mitchell and Tim Timberlake, senior pastor of Celebration Church in Jacksonville, Florida, host “Street Preachers,” which its official website describes as a “raw, unfiltered podcast” committed to spreading the Gospel.

‘A brood of vipers’

The controversy began after ticket prices for the podcast’s 2026 tour circulated online. General admission tickets reportedly cost about $60 before fees, with premium options, including a VIP meet-and-greet package, priced at $200. Critics questioned whether ministers should charge people to hear the Gospel.

Others defended the pastors, arguing that Christian events require venues, transportation, security, equipment and staff.

Mitchell answered critics from the pulpit last month, calling them “a brood of vipers.” He said the podcast is a separate, personal project and that neither his church nor Timberlake’s is bankrolling it.

“Now we have decided to go on a tour to take the gospel to cities, and because that’s not funded by 2819, and it’s not funded by Celebration Church, Tim and I gotta do that with our own pockets,” Mitchell said. “It’s why there is tickets. We have to pay for venues and security and productions and staff from our own pockets.”

Mitchell called some critics “ignorant” and said they did not know that a child was healed through faith during one of the events.

“And you want to complain about a 60 ticket?” he said. “So hate on!”

Worship service vs. media event

Mitchell maintains that “Street Preachers” is an independently produced podcast tour, not a worship service, and that ticket revenue helps cover production costs.

Yet the presence of pastors, Scripture and Gospel language makes the distinction less clear to some believers.

The official tour website lists all eight 2026 stops as sold out. Promotional material announcing additional dates promised, “Better ticket options. Same Gospel. Same move of God.”

Corporate prayer gathering

The language gets to the heart of the dispute. Some Christians argue that no one should be kept outside because they cannot afford a ticket. Others say the Gospel remains free even when people pay for the venue and experience surrounding its presentation.

The paid podcast tour, however, is not Mitchell’s only large-scale gathering. On Oct. 10, 2819 CHURCH will host “ACCESS — That Powerful Hour of Prayer” at AT&T Stadium in Arlington, Texas. Admission is free.

2819 CHURCH has said 80,000 free tickets were claimed before registration reopened.

The contrast raises another question: What makes one Gospel-centered event a ministry supported by donors and another a production supported by customers?

Unfiltered preaching, youth appeal

Mitchell’s congregation, composed largely of young Black adults, grew from fewer than 200 weekly worshippers in 2023 to about 6,000, according to the church. Some worshippers arrive before sunrise to secure a place inside.

His appeal rests partly in an intense, vulnerable and raw preaching style.

“I’m preaching without watering that down, without filtering out things that we think might be too controversial,” Mitchell told The Associated Press.

That visibility has also brought scrutiny of his theology, associations, travel, security and the businesses surrounding his ministry.

But the controversy reaches beyond Mitchell and Timberlake. Christian music concerts charge admission. Seminaries charge tuition. Religious publishers sell Bibles, books and devotionals. Churches pay musicians, media teams and guest preachers. Money becomes particularly uncomfortable, however, when an event is presented simultaneously as ministry and entertainment.

Ministry vs. entertainment

Supporters should not assume every dollar collected becomes personal profit. Critics, however, question whether lower-cost seats, sponsored tickets or free admission for people who cannot pay should be part of a Gospel-centered event.

The Black church always has required resources for ministry. It also has carried a sacred responsibility to make room for people with little or nothing to give.

The sold-out “Street Preachers” tour shows people are willing to pay to attend. The free ACCESS gathering offers a different model. The challenge is preserving that open door as Christian ministry increasingly adopts the machinery — and economics — of popular entertainment.

The post Should you have to pay to hear the Gospel? appeared first on St. Louis American.

Based on reporting by St. Louis American.

Black Press

NCCU Ramping up for the 89th Ultimate Homecoming Experience

NORTH CAROLINA CENTRAL UNIVERSITY – CAMPUS ECHO — N.C. Central University is preparing for its 89th Ultimate Homecoming Experience, a week-long celebration. Thousands of students, family, friends, and alumni are expected to gather on campus for festivities including the Homecoming Countdown, parade, Miss and Mister NCCU Coronation, concerts, and the football game.

Published

1 week ago

October 7, 2026

BlackPressUSA Newswire

NCCU's gospel choir, WPI performs at the 2025 Ultimate Homecoming gospel concert. — Photo by Morgan McNeil.

This Saturday N.C. Central University will kick off its 89th Ultimate Homecoming Experience — a week-long celebration bringing thousands of students, family, friends and alumni to campus.

This year’s festivities include the Homecoming Countdown, parade, Miss and Mister NCCU Coronation, concerts and the football game.

The number of visitors to the football game on Saturday, Oct. 10 is expected to reach at least 10,000 — O’Kelly Riddick Stadium’s capacity, with NCCU’s recent enrollment increase of more than 10,000 students.

The Eagles will face William & Mary after playing against the Campbell University’s Fighting Camels on Oct 3.

Students are already expressing excitement for the upcoming festivities.

“I’m excited for homecoming because I can meet alumni and go outside and party with my fellow eagles,” Digital Filmmaking junior Rhese Gardner said. “I’m also really looking forward to the Greek Bowl because there’s a lot going on.”

He added that even though he’s disappointed this semester’s Oil Spill was canceled, he’s still excited for the other events like the parade and concerts.

Here is a list of the week’s on-campus events:

Oct. 3 – Homecoming Countdown

Oct. 4 – Gospel Concert

Oct. 5 – Coronation of Miss and Mister NCCU

Oct. 6 – 10:40 Break

Oct. 6 – Homecoming Experience Showcase

Oct. 7 – Fried Chicken Wednesday

Oct. 7 – Festival Block Party

Oct. 7 – Late Night Breakfast

Oct. 8 – Back to the Nest Young Alumni Mixer

Oct. 8 – Old School Greek Stroll Off

Oct. 8 – Hip-Hop Concert

Oct. 9 – Step Show

Oct. 10 – Football Game

The post NCCU ramping up for the 89th Ultimate Homecoming Experience first appeared on Campus Echo Online.

Based on reporting by North Carolina Central University – Campus Echo.

Black Press

Master P Encourages Norwood Elementary Students to Dream Big, Work Hard

BIRMINGHAM TIMES — Music mogul Percy Miller, known as Master P, visited Norwood Elementary School on Friday alongside his mascot sidekick, Captain Ace. Teachers and students, dressed in school colors, welcomed Miller, who shared lessons on education, consistency, networking, and the importance of not letting circumstances define one’s future.

Published

1 week ago

October 6, 2026

BlackPressUSA Newswire

Music mogul Percy Miller, better known as Master P, visited Norwood Elementary School on Friday with his mascot sidekick, Captain Ace. (Birmingham City Schools) — (Birmingham City Schools)

Music mogul Percy Miller, better known as Master P, visited Norwood Elementary School on Friday with his mascot sidekick, Captain Ace. (Birmingham City Schools) ”

The sounds of students singing filled Norwood Elementary School Friday morning as teachers dressed in camouflage and students wearing their school colors of green welcomed a special guest whose career has been built on music, entrepreneurship and perseverance.

Before taking the stage at the Birmingham-Jefferson Convention Complex (BJCC) Friday night, music mogul and entrepreneur Percy “Master P” Miller spent the morning with Birmingham students, sharing lessons about education, consistency, networking and the importance of refusing to let circumstances determine their futures.

Miller was joined by Captain Ace, the blue-dog mascot and educational character associated with his school visits and assemblies. Together, they turned the celebrity appearance into a lesson centered on positive choices, learning, and believing in one’s potential.

The visit also brought together Birmingham city and school leaders, including Mayor Randall L. Woodfin, Birmingham City Schools Superintendent Dr. Mark Sullivan and members of the school system’s staff and leadership.

At the conclusion of the assembly, Woodfin and Sullivan presented Miller with a proclamation honoring his visit to Norwood Elementary.

At the conclusion of the assembly, Mayor Randall Woodfin and Superintendent Dr. Mark Sullivan presented a proclamation in honor of Miller’s visit. (Birmingham City Schools)

“Keep chasing your dreams.”

For Miller, however, the morning was less about recognition and more about the children sitting in front of him.

“I love the kids,” Miller told the students. “Even though I got a show, I’m like, no, I got to come and touch the kids because that’s the future.”

Miller said his focus is on what he described as “saving the next generation” and educating young people so they can recognize their potential.

“I want these kids to know that they can fly over all this negative,” he said.

That message became personal when Miller reflected on his own childhood.

He told students he grew up living with his grandparents, who had 12 children. His family lived in a three-bedroom housing project, but Miller said he refused to allow his circumstances to define what was possible for him.

“I didn’t let my condition stop me, and I don’t want you guys to let your condition stop you,” he told the students.

Miller repeatedly returned to the idea that dreams require action.

“There’s no limit to your dreams,” he said, emphasizing that success requires work and that students cannot “cheat the game of life.”

He then asked the students how many of them wanted to be successful. The room responded.

Miller used a familiar example to explain one of his central lessons: McDonald’s.

After asking students what the restaurant sells, he shifted the conversation from hamburgers to consistency.

“McDonald’s is selling consistency,” Miller said.

He explained that a Big Mac is expected to taste the same wherever it is purchased, using that familiarity as an analogy for persistence.

“Keep doing something, not giving up,” he told the students. “Keep chasing your dreams, doing something every day to get that, even when it don’t look like it’s gonna happen.”

Scholars assembled in the gym to perform a song for Miller, who shared words of wisdom with the student body. (Birmingham City Schools)

“Somebody’s gonna make it big.”

Miller also challenged the students to think about the relationships they are building now. He asked whether they understood what networking means before explaining that the people sitting beside them today could become important figures in their lives tomorrow.

Miller shared a story about a girl he knew when he was in school — someone he said other people did not like or treated negatively. Years later, she became a bank president. When Miller needed a loan, he said, she remembered how kind he had been to her when they were younger.

“You never know who’s gonna be what in here,” Miller said.

He encouraged students to introduce themselves to others, learn their names and treat people well.

“That’s networking,” he said.

For Miller, the lesson went beyond professional connections. He encouraged students to recognize the possibility within one another.

“Who’s gonna be a doctor? Who’s gonna be a lawyer? Who gonna be a teacher?” he asked. “Who gonna be the president of the bank? Who gonna be the mayor? Who gonna be the superintendent?”

Miller said students cannot know where their classmates will end up, which makes how they treat one another today important.

“Somebody’s gonna make it big,” he said. “And it could be all you guys.”

After the assembly, Master P, Captain Ace and Mayor Randall Woodfin read to one the classes. (Birmingham City Schools)

Moments of Celebration

The visit was also filled with moments of celebration. Before Miller addressed the students, Norwood teachers and scholars welcomed him with a robust singalong to “The Affirmation Song,” creating an energetic introduction to the morning’s message.

The appearance of Captain Ace added another layer to the program. The character is part of Miller’s educational work with children, with school assemblies and musical programs addressing topics including anti-bullying, stranger danger and mental health awareness.

Miller said he has spent years making time for young people because he sees them as the future.

The message aligned with the presence of Birmingham’s education and civic leadership throughout the morning. Woodfin and Birmingham City Schools leadership have increasingly emphasized connecting children with educational, enrichment and career opportunities across the city. Earlier this year, the city announced its Children and Youth Commission’s Cradle-to-Career Roadmap, a strategy designed to connect the systems and resources influencing children from early education through adulthood.

For Norwood students, however, the morning offered a more immediate lesson: the opportunity to see someone who built a career from a childhood that did not necessarily predict the future he ultimately created.

As Miller prepared to leave, he encouraged students to keep working, keep learning and keep believing in themselves.

“I kept going,” he told them, reflecting on the people who once told him he would not succeed. “That’s what I want you guys to do. Keep going, no matter what your conditions is. No matter what your environment is.”

Based on reporting by Birmingham Times.

Black History

National Civil Rights Museum Freedom Award Honors the Relentless Fight for Equality

TRI-STATE DEFENDER — The National Civil Rights Museum’s 35th annual Freedom Award ceremony, held on Thursday, October 1, at the Orpheum Theatre, recognized a diverse group of civil rights leaders. Honorees included Fred Gray Sr., a legal strategist who represented Dr. Martin Luther King Jr.

Published

1 week ago

October 6, 2026

BlackPressUSA Newswire

Members of Gary Goin Freedom Award House Band perform at the 35th Freedom Award ceremony on Thursday, Oct. 1 at the Orpheum Theatre. (Gary S. Whitlow/Tri-State Defender) — (Gary S. Whitlow/Tri-State Defender)

The honorees at the National Civil Rights Museum’s 35th annual Freedom Award ceremony held at the Orpheum Theatre on Thursday, Oct. 1, reflected a changing era of civil rights leadership.

Fred Gray Sr., one of the last surviving legal strategists of the Civil Rights Movement, helped dismantle segregation in America as the lawyer who represented Dr. Martin Luther King Jr. and Rosa Parks. Gray’s pioneering legacy now rests with the generations he helped empower, including fellow award recipients Rev. Shavon Arline-Bradley, Nneka Ogwumike and Bakari Sellers.

Arline-Bradley, an ordained minister, public health advocate, and president and CEO of the National Council of Negro Women since 2023, credits the women and civil rights legends who preceded her and built the organizations she now leads with making her work possible.

Nneka Ogwumike, WNBA champion and four-term president of the league’s players association, and Bakari Sellers, a lawyer, author, CNN political correspondent and former South Carolina legislator, represent a younger generation of human and civil rights activists. They are taking the fight into new arenas, from women’s sports and economic opportunity to voting rights, education and social justice.

Together, their stories shaped the event’s overall theme and mood, which celebrated the courage of freedom fighters of the past while embracing what civil rights leadership looks like now — and what it may become.

Before the ceremony, hundreds of guests gathered for photographs and interviews on the red carpet and hors d’oeuvres at the Halloran Centre for Performing Arts & Education next door to the Orpheum. Actor Larenz Tate hosted the event for the second consecutive year. Grammy Award-winning gospel artist Tamela Mann brought the audience to its feet with her performance of the hit song “Take Me to the King.” And local artist Garry Goin and the Freedom Award House Band performed a mix of R&B and liberation songs.

Fred Gray Jr. accepted the Freedom Award on behalf of his father, civil rights attorney Fred Gray Sr., who was unable to attend the ceremony. (Gary S. Whitlow/Tri-State Defender)
Rev. Shavon Arline-Bradley, president and CEO of the National Council of Negro Women, was among the honorees at the National Civil Rights Museum’s 35th annual Freedom Award. (Gary S. Whitlow/Tri-State Defender)
Nneka Ogwumike, WNBA champion and four-term president of the league’s players association, was honored at the National Civil Rights Museum’s 35th annual Freedom Award. (Gary S. Whitlow/Tri-State Defender)
Bakari Sellers, lawyer, author, CNN political correspondent and former South Carolina legislator, was honored at the National Civil Rights Museum’s 35th annual Freedom Award. (Gary S. Whitlow/Tri-State Defender)

Taking the stage to accept the first award was Arline-Bradley, who reflected on the legacy that shaped her path to leadership.

“This honor means more to me than you can ever imagine,” Arline-Bradley said, describing the moment as the culmination of what she believes God had in store for her.

She paid tribute to Dorothy Height, whose leadership helped secure the headquarters for the women’s advocacy nonprofit on Pennsylvania Avenue in Washington, D.C. Arline-Bradley described the building, located on the same street as the White House, as a representation of Black women’s history, power and resilience.

“NCNW stands as the only Black and women-owned building on Pennsylvania Ave,” she continued.

During her speech, Arline-Bradley outlined what she believes it will take to achieve freedom and equality today.

“If America wants to get her healing, we’ve got to climb to the rooftop of justice,” she said.

And justice includes using Black economic power to support companies with compatible values, she continued.

Fred Gray Jr. accepted the award on behalf of his father, who was unable to attend the ceremony. Gray, who practices law alongside his father and brother, recalled his father’s decision to become a lawyer and return to Montgomery, Alabama, determined to challenge segregation.

freedom26_GSW1988-2 — Actor Larenz Tate hosted the National Civil Rights Museum’s 35th annual Freedom Award ceremony for the second consecutive year. (Gary S. Whitlow/Tri-State Defender)

Gray connected his father’s legal work to Memphis’ sanitation workers, whose 1968 strike became a defining moment in the city’s civil rights history. “At 95, if he was here, he would say to you, ‘I have done what I can do. The rest is up to you,’” Gray Jr. said.

Ogwumike used her acceptance speech to connect the growing visibility of women’s sports to a broader conversation about opportunity and equality.

“In this moment, there are greater and more opportunities for girls and women in sports,” Ogwumike said, pointing to the example provided by the WNBA’s professional athletes who serve as role models for young girls.

She also addressed what she described as threats to women’s rights and access, including debates surrounding Title IX, voting rights, reproductive healthcare and gender violence. “We refuse to be bullied and we refuse to be silenced and made to disappear,” Ogwumike said.

Her remarks were followed by a surprise video message from former Vice President Kamala Harris, who thanked Ogwumike for “being a fighter for the people” and congratulated the evening’s other honorees.

The final honoree, Bakari Sellers, has family ties to Memphis. His mother grew up in the city. His grandfather, the Rev. E.W. Williamson, once served as pastor of Middle Baptist Church and Olivet Baptist Church.

freedom26_GSW1954-2 — Grammy Award-winning gospel artist Tamela Mann performs at the National Civil Rights Museum’s 35th annual Freedom Award ceremony. (Gary S. Whitlow/Tri-State Defender)

Sellers wrapped his remarks in light humor as he reflected on his conversations with other advocates and his own social justice journey. At one point, he paused, overcome with emotion, as he recalled visiting the National Civil Rights Museum earlier in the day and standing on the balcony where Dr. Martin Luther King Jr. was assassinated on April 4, 1968.

“The victories they won are being torn down all around us,” Sellers said.

To illustrate the cost and cruelty of social injustice, he asked the audience to imagine a 10-year-old student who might one day cure cancer but is struggling in school because of hunger.

“Somewhere we have forgotten that we come from a people of dreamers,” Sellers said. “We have forgotten the price that was paid.

“I am only 42 years old. I don’t really deserve this thing,” Sellers said. “But I will promise you this: Tomorrow I will work harder than I did yesterday.”

A video montage at the black-tie ceremony paid tribute to influential figures who died this year, including civil rights organizer Bernard Lafayette, a leader in the Nashville Movement, Freedom Rides and the Selma voting rights campaign; Rev. Jesse Jackson, the civil rights icon, minister and founder of Operation PUS;, Memphis civil rights activist Clara Ester; feminist leader and journalist Gloria Steinem; and country music legend and philanthropist Dolly Parton.

Museum President Russ Wigginton commented ahead of the program on the generational evolution of Freedom Award honorees. He noted that earlier generations of civil rights leaders often could measure progress through changes in laws, court decisions and government policy. Marches, sit-ins and other forms of direct action helped produce the landmark legal changes achieved during the Civil Rights era of the 1950s and 1960s.

But today, he said, the work can be more difficult to measure because much of it involves changing hearts and minds, increasing empathy and encouraging people to understand cultural differences.

“It is a delicate balancing act that requires patience and commitment,” Wigginton said.

He added, however, the fundamental goal remains unchanged: equal rights for everyone.

Based on reporting by Tri-State Defender.

Black Press

New Protections for Ticket Buyers: Gov. Newsom Signs Assemblymember Isaac Bryan’s Bill

OAKLAND POST — Assembly Bill 1349 expands state regulation of original ticket sellers, resellers and online resale marketplaces. The law targets deceptive sales practices, ticket-buying software and speculative listings — tickets advertised for sale by sellers who do not possess them or have authorization to sell them.

Published

1 week ago

October 4, 2026

BlackPressUSA Newswire

Assemblymember Isaac Bryan (D-Ladera Heights). File photo.

By California Black Media Staff

Gov. Gavin Newsom signed legislation on Sept. 27 authored by Assemblymember Isaac Bryan (D-Ladera Heights) that strengthens consumer protections for Californians purchasing tickets to concerts, sporting events and other live entertainment.

Assembly Bill 1349 expands state regulation of original ticket sellers, resellers and online resale marketplaces. The law targets deceptive sales practices, ticket-buying software and speculative listings — tickets advertised for sale by sellers who do not possess them or have authorization to sell them.

“Buying a ticket shouldn’t come with hidden risks or unfair practices,” Newsom wrote on social media after signing the measure.

Under AB 1349, ticket sellers are prohibited from listing tickets before they have been officially released unless they have authorization or a legally enforceable right to receive them. Online marketplaces must also take reasonable steps to prevent speculative ticket sales on their platforms.

The law prohibits sellers from using bots, multiple accounts, email addresses or internet protocol addresses to circumvent ticket limits, presale restrictions, electronic queues and other controls. It also bans websites and advertisements designed to mislead buyers into believing they are purchasing tickets from an authorized seller, venue or event organizer.

Sellers who violate certain provisions and fail to provide a promised ticket may be held liable for twice the ticket’s contracted price. Buyers may also recover nonrefundable expenses incurred while attempting to attend an event, along with reasonable attorney’s fees and court costs.

Pastor Tecoy Porter Sr., president of the National Action Network’s Sacramento chapter, said the law establishes needed accountability.

“Buying a ticket to a concert or show shouldn’t mean entering a marketplace where the rules are stacked against you. This year, we worked with a coalition of consumers, civil rights advocates, community groups, and businesses to make AB 1349 stronger. Consumers deserve enforceable rules that protect them. We thank Assemblymember Bryan for his leadership, and we will keep working to make ticketing fair for every Californian.”

Jose L. Barrera, national vice president for the Far West Region of the League of United Latin American Citizens, also praised the measure.

“Californian families deserve certain protections when they buy tickets. Assemblymember Bryan listened to communities across California and delivered a bill that puts fans first. We thank him and Governor Newsom for making it law.”

Black History

Why Black Artists Struggle to Sell Tours

HOUSTON DEFENDER — Recent industry reports and artist comments indicate that Black artists are struggling to sell concert tickets, highlighting a larger crisis in the touring business. This trend, dubbed “blue dot fever,” refers to empty seats at venues and has led to major touring acts canceling or postponing shows since spring 2026.

Published

2 weeks ago

September 30, 2026

BlackPressUSA Newswire

The struggle for modern Black artists in hip-hop and R&B to sell out concert tours is influenced by high ticket prices, changing fan demographics, and increasing production costs. Credit: Gemini — Credit: Gemini

The internet chatter about Black artists struggling to sell concert tickets points to a much larger crisis reshaping the touring business, according to recent industry reporting and artists’ own comments.

Since spring 2026, a wave of major touring acts across genres have canceled or postponed shows due to sluggish ticket sales, a trend some in the industry have dubbed “blue dot fever,” a reference to the blue markers that indicate empty seats on Ticketmaster’s venue maps.

The phenomenon is not limited to Black performers, but several recent examples involving Black artists have fueled online conversation about whether Black touring acts face extra hurdles. For a market like Houston, home to a large hip-hop and R&B fan base and a steady stream of major tour stops, the debate carries added weight.

Here are five reasons the touring business has gotten tougher for artists trying to fill seats.

Blue dot fever is spreading industrywide

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Black hip-hop megastars like Ludacris, T.I., Rick Ross, and BigXThaPlug felt the impact of Blue Dot Fever after struggling to sell tickets. Industry watchers say many artists are being booked into venues too large for their current draw, leaving sections visibly empty, discouraging last-minute buyers. The trend cuts across genres, but it has compounded challenges already facing some Black touring artists this year.

Fans keep comparing every artist to music’s biggest superstars

Grammy-winning singer Melanie Fiona recently weighed in on the online conversation about canceled shows and slow sales, explaining that most artists do not have the resources or reach of music’s top-tier headliners. The trade outlet Ticket News has made a similar point, noting that few artists can match the pricing structure or demand generated by superstar-level tours. When any artist falls short of that bar, fans and social media users are quick to call it a flop, even when the artist is still performing at a healthy level for their career stage.

Stadium bookings are outpacing actual demand

A hip-hop stadium concert set to take place in Louisville in October 2026, featuring Ludacris, T.I., Rick Ross, and BigXThaPlug, reportedly had nearly 47,000 seats still available as showtime approached. The example illustrates a broader booking problem. Venues sized for arena or stadium crowds do not always match the number of fans willing or able to buy tickets, regardless of an artist’s streaming numbers or name recognition. Some promoters are now facing pressure to book smaller, more intimate venues that better match an act’s current draw.

Rising costs are squeezing fans’ entertainment budgets

@sothisismything

#usher #chrisbrown #concert #ticketmaster #viral

♬ original sound – So This Is My Thing!

Housing, groceries, and everyday expenses have climbed for many households, and live music is often one of the first expenses fans cut. Older or legacy acts leaning on nostalgia appear to be hit hardest, since higher ticket and fee prices make attending a bigger financial decision than it once was. Newer or lower-profile Black artists competing for the same limited entertainment dollars face an uphill climb, especially when fans have to choose between one or two shows a year instead of several.

Social media shape who gets mainstream exposure

@dustintheindustryplant

Does TikTok Dominate the music industry.

♬ original sound – Dustin The Industry Plant

Black artists in hip-hop and R&B often compete for airplay and playlist placement within genre-specific categories rather than mainstream ones, which can limit the crossover exposure that turns streaming success into ticket sales. Artists working outside those two genres, including gospel, jazz, and Afrobeats-influenced acts, face a similar challenge in reaching audiences beyond their dedicated fan bases. Whether that structural gap is driving today’s sales slump remains an open question that industry analysts and artists are actively debating.

Based on reporting by Houston Defender.