VIDEO: Alcoholic Wine Ice Cream

VIDEO: Alcoholic Wine Ice Cream

Michael Jordan and the Hornets

By

Sampson I.M Onwuka


 

 

The year 2011-2012 is perhaps Bobcats toughest season with a 7-59 loss in the NBA. The owners of the club anticipated public outrage and were not spared the contagion of failing of basketball teams. It amounts to small story to suggest that Michael Jordan – among the coveted franchise owners of Basket Ball team - Bobcat – was not spared the vitriolic from the general public. One of the men who inveighed against the shortfalls of Bobcats – especially against Michael Jordan was Charles Barkley, - friend and foe of the celebrated basket champion, Barkley for the record is also family and also a star in his own right. 

In Yahoo Sports interview with Charles Barkley was by reported Stefan Bond to have said that "I think that Michael was upset by some of the things I said about the Bobcats – which, number one, they were true," Barkley told Yahoo! Sports. "I told you earlier, I’m going to be honest, and I’m going to be fair.

"The Bobcats - first of all, he’s doing a much better job. But a couple years ago, I want to say three years ago, when they were vying for the worst record in NBA history, Michael had not done a good job. He took it personally."  Stefan Bondy for Daily News stated that ‘Although they're coming off a surprisingly successful season -- and have since changed their name to the Hornets -- the Bobcats were the NBA's worst in the previous two seasons, bottoming out in 2011-12 with a 7-59 record. It is the worst winning percentage in the league's history.’

There is something wrong with public castigation when we are struggling with energy as part our failures. But when they come from family members or people we honor the injury is deep, quite deep. It would seem to create the impression that the few years of Michael Jordan’s stay at the realm of Bob Cat was destined to crash into different boulevards. One of these boulevards was a new name for a team and the other is perhaps the searching necessity for potential including the possibility of his Jordan’s return to Basket for Hornets as possible.

For if we compare this criticism from Barkley to Jordan in terms of the quality expended here by Stefan Bondy, we may fail to corner Jordan’s change of attitude except from when memories of a drunk day afternoons while we lull from ether of alcohol and encounter a family member and someone very close. There is something in the subconscious that speaks for its, it is our manners and how we charge from the strains of the vain ether. 

Although the reports of Jordan anger did not demonstrate that he felt it deeply, he is injured from his understanding of the needs of a team that was dying in his hands if buries with it the memories of an outstanding career.   Perhaps the change in Jordan was part of the story since from 2012 there is a change from Bobcats to Hornets. Perhaps the expectations for the new team and new name were measured by the new spirit and attitude of the basketball players. 

It is from here can we understand the evolution of the name team from Old, the old is Charlotte Hornets which resumed its NBA operation from 2014-2014 seasons but the team has since the end of 2012 have taken new and deciding turns for its own good. 

But this good did not magic an appearance on its own, for how else could any team or persons of interest be expected to explain the relocation of the team’s name from Bobcat to Hornets saving for new attitude from old.  It is clear that Hornets need some ground support, and in this case, they need originality. The strategy involved in this process and maturity of signing former NBA players such as Scottie Pippen and Dennis Rodman as part of Hornets’ managerial future may be a way to encourage the originality of their selective process. 

(2) Assuming Jordan has a strategy for making Hornets the dream home of NBA players, it is most likely a plan that will evolve through acquisition of players and improving the pedigree of players already existing.  But this area is better left to Michael Jordan and his crew of experts including General Manager Rich Cho and Steve Clifford.

The question is does the Hornets have the chance of being the NBA champions this year or anytime soon? What are the plans to facilitate this aspiration?

---------------------------------------------------------------------------

II

The difference between Jordan the player from Jordan the manager are essentially worlds apart. 

But considering what has taken place and an article by Forbes Magazine., Dan Alexander/Forbes Staff. 3/2/2015, “A record 290 newcomers joined the Forbes billionaires list in the last year as world markets defied international turmoil. While wars, diseases and currency crises made headlines, tycoons from every continent but Antarctica managed to mint new 10-figure fortunes. 

 “Michael Jordan, arguably the greatest basketball player of all time and indisputably the best-paid athlete of all time. Forbes first ousted Jordan as a billionaire last June. Most of his cash comes from Nike payouts on his iconic brand. The Jordan brand grossed an estimated $2.25 billion in 2013, earning his Airness some $90 million. But his most valuable asset is his stake in the Charlotte Hornets, worth more than $500 million.” 

 “A record 290 newcomers joined the Forbes billionaires list in the last year as world markets defied international turmoil. While wars, diseases and currency crises made headlines, tycoons from every continent but Antarctica managed to mint new 10-figure fortunes.

Meanwhile the Madam Walker example as an American business person has not faded; it is not a rigid sample in drawing aside the merits of all American business idea and franchising either. If the business started in one end of economic spectrum is expected to end as it began then such rebuke did not merit a consideration.  Then you probably not an NBA player, team or part of its future…narrating the explosive interest and profit in patronizing African American business, loosely based on well-studied introspection of what African Americans are like and what their course of interest look like. 

Their market needs and seeking means and ways to bring their final product to the market.

Michael Jordan has given back to African Americans does not mean he would have recognized need to do so, either does it mean that his name is not among the lasting eagles in Sports. But the legacy of Neo cons being the upper part of these African Americans that sustains its gravity, its one hand that trains the other hand or hands that trains other hands, in a long chain that ensure their future with best laid investment.
 

It better explicated through the levels of training and corporation we can generate from within and with those who we consider our kind. The future of Hornets can be divided into two now, what it wants to accomplish now and what it plans for in the future.
 

But like the many examples of the grace which proof of character transformed such people such as Michael Jordan or lateral opponent Charles Barkley, we see these individuals are good examples of American entrepreneurship battle with Apex of Character and in basic demands of an African American society, of the basic demands and expectations in riding and keeping African American business, ‘good is not enough’.
 

In the past, Pepsi has had their own share of problems with these African Americans regarding employment and employment opportunity and took long swaps independent and collective efforts to transform the enigma that was Pepsi from Pepsin produced first in North Carolina, to a company that marginally employed Blacks.
 

It is also from Curtis – in spite of his past – that may have toed the lines of Joe Louis that was one of the earliest Black business partnership with Pepsi, torching in this case, the new and well-found assortment of fruit and crème soda variety emulated by Shaquille O’Neal who is nearer to public access than Kobe Bryant that is virtually inaccessible.
 

Likeability is not an endeavor’s keep it fluctuate with the ‘taste of the pudding’ and with it the new materials that attempts to torpedo other brands in its meaning including its promotional ability, the not-so easily likeable but total effeminate with public, Funk Flex, failed, resurrected and bolstering experiment through Ford do not meet and qualify as entrepreneur but showers excessive meaning on how well and to what extent can the general public ameliorate a star torching on his product and the identity.
 

For if we however clear the ice of Michael Jordan and his products during his renal years at Chicago ( a personal destination) he was first and fore-mostly patronized by African Americans, which may or may be the same with Regis but to the limits of exercises of talent and publicity, it is also the case.

The needs to remain disciplined at work towards objective financial pursuit may prove a hard act to follow unless from tender ages, a private especially an African American private was trained on the merit of academic and work situation, in essence, these people do not just arise except from which by conscription we argue the triumph of a society is best explained by how well a society can progress through commitment to itself and to others, to a large extent how it secures its future.
 

Unless there are material issue of power and belligerent argument of resources allocations, some parties need to ensure a specific pool of African Americans, if not directly linked to the company or trained elsewhere, since the issue with people familiar with color which is not the same as been familiar with the processes mismatch and misdirect on business.
 

You don’t for instance know Michael Jordan or Sean John; you do not have anything in common with these eponymous of human ability and as far their business in concerned there are gaps even when there are jobs to these people.

Timi Alaibe has no plan to marry Agbani Darego, says aide - Premium Times Nigeria

Timi Alaibe has no plan to marry Agbani Darego, says aide - Premium Times Nigeria

A Throwback to Oscar 2015 and matters arising.

by

Sampson Iroabuchi Onwuka 

Al Sharpton and his Action group were interested in calling for a Boycott of 2015 Academy Awards for lack inclusion of African American films, especially the ‘Selma’ produced by Oprah Winfrey starring David Oyelowo and Oprah Winfrey. But the real issue is the lack of African American films at the theaters in the last 10 years. Whereas Selma is a difficult film to make especially when it addresses the relevant issues of film production, it may raise the expectations at the Academy Awards.

Selma is not ‘Boyz the hood’, ‘how Angela got her groves back’, ‘Menace II society’, ‘New Jack City’, ‘Do it right thing’, ‘She got to have it’ many of the films done directed by Spike Lee - some of his films a bit boring – others John Singleton and Mario Van Peebles, and in some extent, David Clark Johnson, Tim Reid, and Julie Dash But these are all mainly a product of the 90’s, may give hints of Selma and conspicuous absent of African American films at the 2015 Oscars.

For what is missing and it’s relevancy to the American society, no film just like no production stands alone and in 2015 Oscar, Selma stand alone. Forest Whitaker, Denzel Washington have all won the Academy Awards, but this is not because of their trying, but like Gooding Cuban Jr and Lawrence Fishbone, these acting recognition is not without the pathfinders such as Sidney Poitier and Paul Robeson who were the in the 30’s and 40’s the American Super Star – Robeson didn’t win anything from the Academy. But the question is whether or not they continued, for true actor or film director expect you to create the industry he or she is part off. It is all connected….

Oscar 2015 87th Academy Awards winner for best picture (Birdman – The unexpected virtue of Ignorance) Alejandro Gonzalez Inarritu, and last year’s Oscar was won by Alfonsu Cuaron, both of whom share a characteristic. There will be others from that rising pool of talent given their involvement in studios that emphasis day to day production, which African Americans don’t really have saving for exclusively such as Oprah and OWN. If these men and women involved in the processes of film production such a Selma film, the outcome may or may not be different. Although between Babel and Birdman is a dimension in films that need to be balanced, there is no doubt that nurture and nature find their way in a theater with edge when there is competence.

Julie Dash stated is quoted in popular source that, "I stopped making documentaries after discovering Toni Morrison, Toni Cade Bambara, and Alice Walker. I wondered, why can't we see movies like this? I realized I needed to learn how to make narrative movies." Julie Dash’s ‘Daughters of the Dust’ – a product of lush imagery and dream cast between lives lost in Georgia in what was called Ibo landing in the 19th hundred concerning a group of settlers kidnapped from Africa drowned than subject to slavery. But this is not where Selma is coming from or what it all means, for all intent, the Selma scored less its budget in spite of its late rally.

Whether the story was connected to the one of the last king of Bini ‘Oba’ extraction cannot be saved historically given the presence of Arabic writings and use of Gullah. They were obviously a crass of indigenes between mainland Ibos, farthest Yoruba or Ijaw* and Bini from hinter-land in what is now Nigeria. It will however not explain the Selma at the theaters.  

In the 80’s before it was a different taste; ‘Coming to America’, ‘Color Purple’ ‘Last Dragon’ etc., directed mainly by non-African Americans. In the 70’s were increasingly lingered towards Blaxploitation, Buck and the Preacher, Sweet Sweetback, Uptown Saturday Night, Super fly, Shaft, Black Caesar, Three the Hardest, etc., but their success also rely mainly on characters from African American legends and from issues that affected African Americans directly, including the fans. But these films appealed directly to American audiences, especially African American, it tackled issues that were relevant and issues that mattered the most. Any Black film director must first and fore mostly attempt to please before anyone else – that is going by Sidney Poitiers. It will not also explain Selma and African American films at the 2015 Oscars.

Without the patronage of these African American at the theater, nearly all films including historical narrative such as Malcolm X by Spike Lee – which Denzel Washington gave a kind of shine – will all fail. In the late 60’s, 70’s and some part of 80’s was the consistent Drama’s such as Titus Andronicus and Othello played by excellent actors; Morgan Freeman as Aaron at Shakespeare Company for New York City and others in later years, James Earl Jones as Othello in the same outing in New York and others that follow, especially Laurence Fishburne in 1995 production of Othello.

But it may prove something else, that a production need to tow a certain if needs to succeed, above all, there is issues of intended audience and lack of productive auteurs among some groups, for if we suggest that the Selma could have done better, the story about the Tuskegee men starring Laurence Fishburne and a comparative Red tail starring David Oyelowo as Lucky, didn’t meet its target. The acting in Red Tails was not bad, his accent tipped off a bit unlike ‘Middle of Nowhere’ where the actor and the star actress were just natural and phenomenon. The production quality of Red Tails was strictly one dimensional and nowhere on the same pedestal as ‘Idle Wild’ and like Selma, the stories present good conversation and the characters dive sideways.

The script therefore did little justice to the characters and its development. It seems that David may have a knack for acting but needs a film with longer projection or mini-series to vitiate on his talents. This is why you need more than one acting African American Academy.

A study of Sidney Poitier’s successes at the theater including his ‘Buck and the Preacher’ will have all flopped at the theaters without the patronage of African American audience. There are lots of historical narratives with stylish dispatches that many Black entering the theaters will have little problems choosing with to see. But in terms of what really motivates an audience, perhaps a trend it’s an important way of guesstimating what they like.

According to Sidney Poitier in a briefing he gave in the 60’s about his successes at the Box office, he mentions that you ‘…have to pursue those subjects that will satisfy a black community…on the bases of entertainment.’  His success in the 60’s and 70’s was due to this premise which need to be emulated for this generation of African Americans film makers looking to define a genre for themselves.

Ivan Dixon’s involvement in a long chain of movie and production such as ‘Something of Value (1957), Porgy and Bess (1959), A Raison in the Sun (1961), carefully define era, but his attempts at Cross overs were not exactly successful. In his words which appear in Melvin Donaldson ‘Black Directors in Hollywood’ (2003), he is quoted as saying that “There are human situations that people have regardless of color…I just want to see it take place from the point of view of the Black ethos or social group.”

Although Donald Boogle books on African American film making industries is also important, lacking perhaps the issue of budget and final cuts, and why some of the films made money others did not. With regards to Michael Shultz and his dazzling careers in African American films, he was better known for making American films, which incorporates basic elements of the society. His values are not well celebrated at the films, but cinematic opening of large aerial set pieces which narrows to the story line was used by Eddie Murphy and more than once.

The success of ‘Nutty Professor’ based on original production was based on the combination of many things, but to the point that the Eddie Murphy’s ‘Coming to America’ remained a Box office hit for an African American film – majority of the actors were African Americans.  It is from the engines of self-imaging no less in wealth no less in person no less in ideas can pictures meeting the needs of Africa Americans for a start triumph, and the Academy Awards will become over time a different matter. In one word, the Academy Awards nomination is secondary recognition whatever the politicos - Dreamgirls and Eddie Murphy notwithstanding – the winning it’s a consolation and not the prize. The prize is the Box office and something close and hardly separate from it it’s making pictures that people really want. 

Race is a passport that bad for traveling in the United States, but a man’s fowler fortune do not prepend to the moral dictates of others, for when we dismember the normative caricature of general theories which presumes all good to have begun and ended with a lone star or lone kind, we are fruitfully misleading the vultures that await the tarnish and descriptive flesh of the souls long suppressed aging differently.

But none of these above cited movies can actually be said to have to have won anything, especially, Malcolm X saving for later day shows such as 12 years a Slave which came through at the buck and heels of Quentin Tarantino’s Django which is less of method acting and shooting, more original, follows a reactionary tendency of an Actor with taciturn and Christopher Waltz best Performance yet, earned 12 years a Slave a standing at the Oscars.

The Better Angels of African American nature in films is experiences through Comedy which is a chain of perceptive athleticism of the audience in question, for with all respect in question, the ability to laugh over things in America is inherited bias of its historical past, but it also mirrors the saying of Poitier that if you intent on making the bucks at the entertain industries, you should as an African American make films that the Community identify with.

Selma is very absorbent and one of the films that tow new lines from the old. But from the imaginative reality of the stars and the unsparing performance that need a new coming to redeem from orphan indulgence of Hollywood films. Perhaps a film about the attempt of an African American trying to solve the problems of HIV distilling HIV virus from Ebola and from the Zaire Interleukin as opposed to Congo Virus which descended from the Monkeys, may throw some sound on the organ that manufactured Selma for our viewing audience.

These films take time, and no one movie stand aside even among the main stream others, the film industries is inter-related, does not mean that there are cases of attrition which Al Sharpton inferred, inveighed and in vaction threatened act on. The message is saved in the exercise, for only in mock exercise of the forgoing of other vital stream of American industries without specifying it, can we in reality miss the real point.

II

For what is missing and it’s relevancy to the American society, no film just like no production stands alone and in 2015 Oscar, Selma stand alone. Forest Whitaker, Denzel Washington have all won the Academy Awards, but this is not because of their trying, but like Gooding Cuban Jr and Lawrence Fishbone, these acting recognition is not without the pathfinders such as Sidney Poitier and Paul Robeson who were the in the 30’s and 40’s the American Super Star – Robeson didn’t win anything from the Academy. But the question is whether or not they continued, for true actor or film director do not expect you to create the industry he or she is part off. It is all connected….

But in a voice that speaks the loudest including the receding and current members of the Academy’s lack of opulence and representation of African American films at the Oscar is perhaps due to lack of Day time dramas that defines American inner African American Societies. There are no real time dramas which provide a training ground for African American producers, actors and film directors; the whole film making unit will really benefit from hands on training and exercises and with it may come the sense of originality in products line. 

There are self-directed autographs that tend to reflect Africa America movies without these people first of all waiting for some super man to appreciate the films. Like the Italian saying, ‘Blood watches blood’, it pales from reason to grant audience to a story that does not reflect your trials and triumphs, perhaps a bit of artist such as Steven Spielberg and the Color Purple but the film is based in limelie to Michael Shultz ‘Purple’ and based on decided good book Alice Walker.

Film making is a sponsorship process, it vivifies the long term association of certain drama series with champions and captain of the industries seeking to do it again. To raise money a film studio either goes begging for it - through Banks, But it hard work to break the jinx which some of us by star do break, but continuity is the success and failure of any industries, especially African American film industries. You are seeking more original production of movie as part of entertainment and there is no complains about African American movies and films industries which is close to its music industries. It’s all in the Context.

Lack of genre in acting is contributing factors, Steve Hardy has given life to the Apollo Theatres – during the opening day of its renovation I was there in person at Apollo Theater at 125th Street and Broadway on this day, and a few block away from the Apollo is a so called African American National Theater or National Black Theater which only a sparing of the African America Stars, Authors, and Theater goers has visited.

The vignette posse of the snake symbols, the convocation of near voodoo imbroglio with the theater was a reasonable strategic turn off, but then, the theater is quite small and under Bloomberg as Mayor New York, majority of the churches in Harlem came under primitive takeover preambles and the Theater suffered in quality and finances for payment.

Of the trying figures of late 80’s Harlem and eventually made his presence known in Harlem is Mervin Johnson, known today for Magic Theaters which was first launched in Harlem, took off in Harlem and hired assortment of African Americans, but the poverty rate of Blacks in New York under Bloomberg era which we need not rehearse. Having in interest which Amiri Baraka ‘…spoke highly off - it’s a disconnect between the stars who are now part of the larger interactive and the common African Americans that have other problems with it besides the issue of identity.

For that, a return to the statuesque it’s very important and the similitude between States in the America where African Americans are still active participating need to connect their expression different and create industries which the best of us are made for, for films in this case, perhaps with experts for production and training and breeding grounds for both actors and directors, for line producers and production specialist and the distribution and sales who work with owners or part of the ownership.

II

One studios is no enough and a few loosing track of their conscious ability is not enough, failure to grasp this very helm of productive abilities will still diminish, movies such as Super Fly readily set the stage for Fashion in Harlem and several parts of the State of New York, it defined an era, it defined the turn coats from the Shaft impersonation, It has sort to exploit the business opportunities for African American society by creating a money sustaining industries, which are far and few in between.  

But opulence it’s important, if not in movie at least in Music. William Shakespeare ‘Merchant of Venice’ ; ‘A man that has no music in himself or is not moved by the concords of sweet sounds it’s fit for treason, spoils and stratagem, his ways are dull as the night and his movement as dark as Erebus and in all, let such man not be trust’.  Some movies reward us with experience and however suppressed and however staged in variety of language, creed, or language, it is important it lifts us for at least a conspicuous few hours with people important to us.

Cyril Fielding, a British educator in E.M Forster’s ‘Passage to India’   “The world is a globe of men who are trying to teach one another and can best do so by the help of good will plus intelligence” – (first appeared in the book ‘Beyond the Epic; the Life and Films of David Lean’ (2006),). These assumptive facts and the lack of generosity of African American film making and funding, may occasionally contribute to the short falls in competence but there are other things from a film from Selma or like Selma, which may add to the incident of fashion. Sybil Thorndike apparel in the 50’s was a clever letter to the society about the impact of film making to dressing, but Marilyn Monroe.

What and how a film about ‘Pithoris’ (murdering a beloved with many bullets in names of rogue entrance and false break in) leads to different conclusion it’s only due to the stars and the line producers, producers; film makers; and directors involved. The story if treated and viewed from a vintage of the others can assume a different ending sometimes averse to what happened, when and how. In this opening and reconnoiters view of the lame expectation of coloration or discoloration in media and television, business and human psychological interpretation of the self (infantile psychology as a premise) from the apses of confidence built from themes and other emotional apses of cultural and mental representation leads one tail of the other ending, confine the expression to a patina of experience and from that experience filled with impure material, we discover that they are different from us.

Assume that we shoot for instance an African American in another world and from a different world, we experience degrees of restrain in handling sensitive matters, when the depth of the cultural history is shallow, we catch up to the past by sending good after it. Images of slave trade is one elementary position anyone could reach for in discussing the history of African Americans, that these images even in all secondary and primary translation replay pains no longer at ease in 21st century purchase a second meaning of the representation and culture.

Put it elegantly, the culture of representation and meritocracy of amelioration is a self-indulging capacitance that recreates images as according to kinds, can only suffer in quality when it matters the most given the tendency for it to happen as they come to appear, the look of materials from the movies are no idle imagination but working and proficient memorials. For if we see American as a culture remotely dissent over the boundary of types, it is not because of the racial intricacies of the society, which should in fact be celebrated, the discernible of the colors and types it’s rigmarole which need to be understood have the capacitance inveigh with hope.

Race is a passport that bad for traveling in the United States, but a man’s fowler fortune do not reprehend to the moral dictates of others, for when we dismember the normative caricature of general theories which presumes all good to have begun and ended with a lone star or lone kind, we are fruitfully misleading the vultures that await the tarnish and descriptive flesh of the souls long suppressed. Black television is a step is a right direction, it is an example of how a people can represent themselves however distinct and however shallow, but it reminds us on what it’s still positive about African Americans in US but being the only group that work these lines, there is poor quality entertainment which is the scarcity of precisely African Television would offer.

The Business of public television dedicated mainly and ultimately by Africans Americans is shockingly absent, that at least, out of the 1000 approved channels, we should have any given day 100 Channels solely and ultimately dedicated to Blacks or African Americans, another 50 channels if we are to deal with the colored people and special races in the Country. We speak carefully of the finances of possible for these ventures, and we speak entirely of the culture of demonstration when money is planted in one’s neighborhood and harvested according to kinds.

  

Imagine African American business that there is such a thing as profit, which is the ultimate wish of all asunder and all system dynamic, but the lacing of these profit line is a mirage obviated from those who patronize it the more, we notice that we are no longer important in the party and assembly line we started. If these were not to mean profiling or racial reconnoiter it leads to some assumption about the poverty of Blacks in a culture that is also equally theirs.

In common theory of rich and affluent which in money language is different from Wealth and Foundation, these skirmish and surged item no longer appeal, what works is money, from any source and from any means, and here, nearly every group of the Americans can pick and choose who they want to sale and if not largely from fronting of talent exploitations of a repressed market value who will be happy to Uncle Samuel Jackson in hit and run movies, where he had starred in over 120 movies along with over 80 featured films. There is also Will Smith who has made more money Studios and productions than many African Americans and many in the Industries, full stop. The only African American Actor that has generated more money than perhaps any African Americans is Eddie Murphy.

But of these three including Will Smith, only Jackson could be said to have actively taken Black film production seriously – if there is such a thing. Tyler Perry – another definition of neo-conservative film making makes pictures that would be taken seriously where other filmographic among the elderly blacks to mention Eddie Murphy and his ‘Coming to America’ is viewed side by side with any Perry’s.

Perry has matured, but his antic needed a second coming, his mien in television is large discipline but in quality of material available in total America he is a new comer, he has tapped into the main vents of Americans fiber – the African American - he has not done better than Step-in Fetch in, all laughable parable of a past that will not die, died in Perry. 

Perhaps in company of the more successful African American business men and women, some of them lacking his generalissimo, a successful partnership between African American portraiture and struggles at money making and film making was partly achieved with Perry. But look the films his making and it may explain the audience, that they are interested in Comedy with reason is box office invitation. But he is just one vital break neck maverick that is well documented especially the mama-diya (madiya) which he created from a caricature in his stunts in New York, a place where he did not do well. Why he worth is so well and much in so much few years, I say he is a neo-liberal black with surpluses miens for conservative black-hood.

This is a suppressed item given its trillions of dollars- worth only by patronage. It is a market that is divided across meaning and time, with many looking to finger roll of these idiots who have nothing else to offer than have it delivered to them. The total mass of all that is given divided the equal measure of none that is given is equal to abundance of something which nothing is more than half of nothing trying in this case.

With African American audience is a suppressed asset and from Selma there is not whole lot that we are expected to have learnt other than what we know transpired, but a few years ago, Oprah Winfrey also did some movie about the Whitehouse ‘Butler’ although the old documentary and docudrama was far more compellingly. With the black audience, what we are looking at is a suppressed asset that is in fact dragging the American behind, to an extent that patronizing Black final products of any types is not been disloyal to the Americans or un-Americans, it is fact part of a God-given heritage, part of the general global demand that businesses in US with some degree of bottom-line can vest with on any community of interest without marking distinction with and without the self-imposed restriction.

At least Film making industries are left open to all asunder, but in all capacity saving the blighted BLACK Entertainment Television that is mainly still Black in retention but the possession of secondary buyer, US film industries is achingly rooting for black entrepreneurs - at least in formative level of film production without sinking into historical narratives are derived genre. The cases of say Oprah Winfrey and her chain of Television outfits, and the Tyler Perry are considered sine qua non in US only from where Winfrey stands, for if as I argued that production qualities of Perry based production is given the comparative light of other production houses in US, it would have suffered reversals.

But from the fact that he is broken the ceiling suggest that his talent was far more trying that his production until recently essentially shows. The Carton networks where some Nigerians experimented with could not survive, because of patronage on one hand and poor quality on the other. It briefly survived because it had its ways in South Africa and mainly implies that patronage failure of that arm of the television was not responsible; they probably didn’t break enough ceiling as did say Tyler Perry or enough daring as did and still do Nollywood which arrived from nowhere. What some estimators of Film production present as a possibly reason why a film hits and misses, is half the number from Chinese neighborhoods or China towns in US. 

In fact it is said that what you need to make any films successful in New York is a good measure all Chinese or Asians in New York only. Here is the punch line, or a strikingly skewered few from China Town has the time and day for any American production, but these, in true Americans spirit, would line for hours for the latest Chinese flick with assurances from homeland China. It does not betray the willingness to find your foot in US, but in comingled themes of Hollywood based movies; it is largely difficult to find Asians in very key roles, not that Jackie Chan and Jet Li and the Michele Yeoh are not picturesque but from meaning of stardom these are known all over.

Film making, like the Television shows reflecting blacks and blacks alone or blacks mainly is a dead rat theme on how to make money the easy way, but between price comparison and comparative prices, the chances of anyone in any industry making money is reflected by the quality of healthy competition between the ‘lions’ in the business. Perhaps alligators is what you have in mind. When and if one production dominates for a population within 30 million, these cannot be measured a significant blimps in the world of film making. It may seem that there are blacks in all classes of businesses and others in all classes of businesses, but these are called American Television authority, does not mean we and they are eagerly well represented, it means they and we are eager to make and break the frontiers of American film industries by baying for representation under the sole canopy of our fellow citizens of full or near full estimate of having America a leader in the world with as many of us as possible.

Even Donald Bogle books on Black films is distilled from the vistas of ‘Sweet Black’ and the Blaxploitation as they term it, and that his discipline on Black Films ranging from the Oscar Micheaux to Sweet Sweat back, prove its accounting on how the church and other Christian organization gave weight of support and avenue for these kinds of movies it’s stuff of history and it can do better with adequate enough films, yearly. Perhaps the argument that exclusion between Whites and Blacks after the turn of the 19th and 20th century it’s no longer the issue is also secondary, the intellectual photosynthesis on African American identity took a largely active feature and the church readily proved the right avenue for these film resources, shot and displayed by Micheaux. 

Interpretation of African American experience in these films gave way to the new realities of the whole process of film making as a primary force of entertainment in a new information age. But the money which is devoted to meeting up to date production and commercializing and promoting these films and other entertainment forms answers to something else, and there are long term comfort of the future economy.  The African Company and Groove Theater and the actors such as Paul Robeson gave meaning American film industries, but like the emphasis on the profit curve may be reasons why these challenges privileged discourses on black is manicured to the realm and not without reasons that fans don’t want to hear that, yet that reason is that fact that in the industries where these black are champions are in keeping to some past, Machiavelli in recherché that laughter has been for the public tap dancing, display a perfect anecdote for obvious lives in permeated denials.

1