Congratulations to Jamie Foxx and Morgan Freeman
on their Academy Award wins.

Jamie Foxx- Best Actor, Ray

Morgan Freeman- Best Supporting Actor, Million Dollar Baby

List of winners

The Envelope on

Academy Award Coverage@Yahoo Movies

Academy Award Coverage@MSNBC

77th Annual Academy Awards- Page 1


The following article appeared in the March 14, 2005 issue of Jet Magazine


The following article appeared in the March 11, 2005 issue of Entertainment Weekly Magazine


An Oscar Is Nice, But Box Office Is Better

By Steve Gorman

LOS ANGELES (Reuters) - As the dust settles on the 77th Academy awards, Hollywood is asking just how much will an Oscar be worth to one of this year's winners.

The answer: it all depends on who you are.

The consensus among Hollywood insiders is that Oscar's hard-dollar value is potentially much higher for best-actor winner Jamie Foxx than for two-time best actress Hilary Swank, whose box office draw is regarded by many as less certain.

Foxx, crowned for his portrayal of soul music legend Ray Charles, could double his earning power -- by some estimates boosting his asking price to between $10 million and $15 million a picture.

Swank, too, is certain to make more money. But she'll likely trail Foxx by a several million dollars at the bargaining table, in part because some see her as pigeonholed by two gender-bending "butch" roles that have so far defined her career -- a cross-dressing youth in "Boys Don't Cry" and a female boxer with a heart of gold in "Million Dollar Baby."

By comparison, the worth of big-screen veteran Morgan Freeman's long-awaited statuette is mostly sentimental. As an established character actor, his asking price and the number of scripts that come his way probably won't change much.

Likewise, Cate Blanchett's Oscar-nominated breakout performance as the 16th-century British monarch in "Elizabeth" (1998) was by far more pivotal to her career than her Oscar-winning turn as Katharine Hepburn in "The Aviator."

There is no question that winning an Oscar conveys immediate prestige, and in most cases, financial rewards.

"I'm now more of a commodity," actor Adrien Brody, the 2003 Oscar winner for "The Pianist," told Reuters. "I'm a safer bet on a business level. It does provide you more opportunities."

In the words of one leading talent agent: "If you win an Oscar, even if you get nominated for an Oscar, it is part of the language that helps sell you as an actor out there."


But as agents, producers, image makers and trade press writers are quick to explain, the complex calculus that determines an actor's bankability, and thus earning power, hinges much more on one's box office record than on accolades.

The biggest stars -- Brad Pitt, Will Smith, Julia Roberts, Tom Cruise, Russell Crowe, Tom Hanks -- are the ones who, on the strength of their names, can generate financing for a film, then go on to "open" that picture, drawing huge audiences to the multiplexes in the film's first weekend.

Such A-plus stars belong to an exclusive club of performers who command upward of $20 million for a film, not to mention a "backend" share in a movie's profits.

Winning an Oscar hardly guarantees that kind of star power. Just ask Marisa Tomei (1993 for "My Cousin Vinny") or F. Murray Abraham (1985 winner for "Amadeus").

Yet, plenty of stars make it to the top without winning. Neither Smith nor Cruise, nor Pitt, for instance, has ever taken home an Oscar. And even if they did, their money-making capacity is as high as it's ever going to get at the upper echelons of the Hollywood food chain.

"It doesn't increase the value of somebody who's already at the top of their game," said Tony Angellotti, whose publicity firm, the Angellotti Co., handled the Oscar promotional campaign for the movie "Ray."

Gene Hackman vaulted from the ranks of respected character actors to the stratosphere of A-list stars when he won the best actor Oscar in 1972 for "The French Connection."

When John Wayne won his only Oscar, for "True Grit" two years earlier, "It was the end of his career. It didn't mean anything other than 'Thank God,' he finally won,"' Angellotti said.


'Million Dollar Baby' Dominates Oscars


LOS ANGELES, Feb. 27 - In a year without blockbusters in the biggest Oscar categories, "Million Dollar Baby," an intimate film about an underdog female boxer, captured four top awards Sunday at the 77th Academy Awards: best picture, best director, best actress and best supporting actor.

The victories overshadowed the three-hour epic about the billionaire Howard Hughes, "The Aviator," which had the most nominations, 11. It won five awards, but its director, Martin Scorsese, was denied the Oscar for best director for the fifth time.

Jamie Foxx won best actor for his masterly portrayal of the rhythm and blues musician Ray Charles in "Ray." A joyous Mr. Foxx, 37, tearfully recalled how his grandmother - "my first acting teacher" - told him how to carry himself, to "act like you got some sense" and beat him when he did not.

"Now she talks to me in my dreams," he said, breaking down in tears. "And I can't wait to go to sleep tonight because we got a lot to talk about. I love you."

The Oscars for "The Aviator" included best supporting actress for Cate Blanchett.

But it was Mr. Eastwood's "Million Dollar Baby" that captured the hearts of voters in the Academy of Motion Picture Arts and Sciences. It was Mr. Eastwood's second directing Oscar; he won for "Unforgiven" in 1993.

Hilary Swank also won her second Oscar for best actress, for her portrayal of Maggie Fitzgerald, the waitress-turned-boxer who battles her way to the championship bout. At the podium, she thanked her husband, Chad Lowe, whom she forgot to thank publicly when she won for "Boys Don't Cry" in 2000. Finally, Ms. Swank turned to Mr. Eastwood. "You're my 'Mo Cuishle,' " she said, using the Gaelic term Mr. Eastwood's character translated as "my darling, my blood."

Morgan Freeman won best supporting actor for his portrayal of a worldly-wise ex-boxer. Mr. Freeman, nominated four times in his career, was given a standing ovation as he accepted the Oscar, his first.

Asked to comment on the large number of nominations for black actors this year - five nominations for four actors - Mr. Freeman observed: "It means Hollywood is continuing to make history. Life goes on. Things change. They never stay the same. We are evolving with the rest of the world."

Ms. Blanchett won best supporting actress for her portrayal of Katharine Hepburn, Hughes's lover, in "The Aviator." In her speech, Ms. Blanchett thanked Hepburn, who died in 2003 at 96, for "the longevity of her career," which she said was inspiring. Backstage, she said Hepburn's relatives had been supportive of her performance. "They seem pleased and said she'd be pleased, and I believe them," she said.

"The Aviator" also took four other Oscars: for best cinematography (Robert Richardson), best editing (Thelma Schoonmaker), best art direction (Dante Ferretti and Francesca Lo Schiavo) and best costume design (Sandy Powell).

For Harvey and Bob Weinstein, the founders and co-chairmen of Miramax who helped finance "The Aviator," the night was a bittersweet farewell, after a quarter-century run that racked up 249 nominations and 60 Academy Awards. The company had 20 nominations this year.

The Walt Disney Company is in the final stages of negotiation to close out the Weinsteins' contract. "The Aviator" was also financed by Initial Entertainment Group and Warner Brothers.

Chris Rock fulfilled his promise to shake up the established Oscar traditions as M.C. of the event, weaving racial humor throughout the show as when he had two burly black men come out as representatives of the accounting firm Price Waterhouse.

This was not the sort of gentle, in-crowd humor that had been provided in years past by Billy Crystal or Steve Martin, and members of the audience seemed shocked, with Oprah Winfrey staring, her mouth agape, at Mr. Rock's bald, if funny, critique of the industry. Early in the broadcast, he berated the industry for making movies without stars, saying Clint Eastwood was a star but Tobey Maguire was not. "You want Russell Crowe and all you can get is Colin Farrell?" he asked, advising: "Wait."

Underscoring the remoteness of this year's best picture nominees from mainstream tastes, Mr. Rock introduced a taped segment in which he interviewed mostly black moviegoers at a theater in an inner-city neighborhood here, asking them if they had seen movies nominated for best picture. None of them had. Asked if they had seen "White Chicks," a comedy starring two of the Wayans brothers, they said yes.

Mr. Rock also took aim at President Bush, saying that if a Gap employee had squandered a budget surplus, started a war against Banana Republic and then learned that the reason given for going to war did not exist, there would be consequences.

The best picture nominees largely traded on classic themes and human warmth, capping a film year that began with heated national debate over the religious, political and social implications of the director Mel Gibson's "Passion of the Christ" and the director Michael Moore's "Fahrenheit 9/11."

In addition to "The Aviator" and "Million Dollar Baby," the best picture nominees were "Ray"; "Finding Neverland," about Peter Pan's creator, J. M. Barrie; and the comedy "Sideways," set in California's wine country.

Alexander Payne and Jim Taylor won the Oscar for best adapted screenplay for "Sideways." "Ray" won the Oscar for best sound mixing, and "Finding Neverland" won best original score. "Eternal Sunshine of the Spotless Mind," a love story with an absurdist bent about erasing love from one's memory, won best original screenplay for Charlie Kaufman.

So far, none of the best picture nominees have made it to $100 million in ticket sales at the domestic box office, unlike last year's best picture, "The Lord of the Rings: The Return of the King." And no great controversy - with the exception of a late-breaking protest by advocates for the disabled, who objected to the portrayal of an assisted suicide in "Million Dollar Baby" - enlivened the run up to this year's Oscars.

"The Incredibles" won best animated feature and best achievement in sound editing. The Oscar for best foreign film went to "The Sea Inside," based on the true story of a Spanish man's 30-year struggle to have the right to end his own life with dignity. On the red carpet, the parade of stars and gowns - nominees, presenters and academy members - gave the evening the required sheen of glitz and glamour.

To some extent, the campaign season had looked like a match race between Mr. Eastwood, 74, and Mr. Scorsese, 62, both of whom are sentimental favorites among academy members.

This year's ceremony came at a crossroads not only for Disney and Miramax but for other studios as well. MGM and its United Artists unit are on the verge of being swept under the umbrella of Sony Pictures through a complicated deal with Sony and Comcast.

"Born Into Brothels," a moving story of a Westerners attempt to teach photography to children of prostitutes in Calcutta, won best documentary. The film's producers Ross Kauffman and Zana Briski said backstage they were now building a school in Calcutta for the children.

The year was a landmark one for African-American actors, the first time that black men won both acting categories. It followed 2002, another landmark year, when Halle Berry and Denzel Washington won the two top acting awards, and suggested that blacks were gaining greater acceptance in Hollywood. Asked about the significance of his win backstage, Mr. Foxx said black people had too many negative images, and needed positive symbols. "In our music, our everyday life - why not have something positive, and stamp it with blackness," he said. "When I was watching Halle Berry, watching Denzel Washington it gave me inspiration, that I could do my thing too."


Black Actors Inspiring Fans To Tune In

Nominations in Top Categories Lure Viewers Back to Oscars

By Avis Thomas-Lester
Washington Post Staff Writer

Imani Cheers has made two requests of the friends she has invited to her Academy Awards party tomorrow night. First, they are to see each of the films up for best picture, as well as the ones from which a black actor or actress has been nominated for an Oscar.

Next, before they arrive at her Prince George's County home, they have to print out the survey she has e-mailed them and vote for their choice in each of the major categories so they can see how their choices stack up against the winners.

"I'm so excited about the Academy Awards this year," said Cheers, 25, who took her mother, Darline, to see the "Hotel Rwanda" yesterday at Magic Johnson Theatres in Largo. "This year is very different because for the first time in the history of the Oscars, you have a strong pool of black nominees in the major categories."

With the nominations of four black actors for five films centering on black characters or subjects, Cheers and other black viewers say they will be tuning in to the Academy Awards presentation for the first time in years.

Program producers -- hoping to draw a younger, more diverse audience -- have tapped comedian Chris Rock to emcee the telecast of the 77th annual Academy Awards ceremony, to air locally at 8 p.m. on ABC.

"There is a lot of excitement out there this year," said Joe Selmon, chairman of the theater arts department at Howard University. "As much as the number of nominees, it's the quality of the roles they are being considered for that has people excited."

Many African American viewers were delighted, for instance, when Denzel Washington and Halle Berry took top acting awards for 2001, but not everyone was pleased with the roles for which they won their Oscars, said Selmon and Donald Bogle, an author and expert on black films.

By contrast, Jamie Foxx received a best actor nomination this year for his portrayal in "Ray" of blind song master Ray Charles, a role that Selmon said "shows a united sort of cultural base that we all share as Americans."

The three nominations for "Hotel Rwanda," including one for best actor for Don Cheadle, and one for best supporting actress for Briton Sophie Okonedo, honor "an outstanding film that presented information that we all needed some insight into," Selmon said. The movie depicts the struggle of a hotel manager who tried to save lives in the Rwandan genocide.

Foxx is also nominated for best supporting actor for his role as an abducted cab driver in "Collateral," competing against veteran actor Morgan Freeman, who received his fourth nomination this year for his role in the boxing movie "Million Dollar Baby."

Other films with subjects concerning blacks that received nominations include "Tupac: Resurrection," for best documentary; "Yesterday," a South African film, nominated for best foreign language film; and "Mighty Times: The Children's March," about segregation, which is up for best short subject documentary.

Cheers, who worked on the video released in connection with "Tupac: Resurrection," is hosting 10 friends for a fondue and make-your-own pizza Oscar party at her Mitchellville home. As a child, she said, the Academy Awards were one of her favorite programs -- until she grew older and "became aware" that blacks were chronically excluded from the nominations.

She stopped watching, beginning again only after she spent a year and a half working in the entertainment industry in Los Angeles.

Faye Dixon and George Bazemore of Fort Washington, who, as teens watched Sidney Poitier in 1963 become the first black man to win an Academy Award, said they have since watched the ceremony only sporadically.

Both tuned in when Morgan Freeman was nominated for best actor for "Driving Miss Daisy" in 1989 and five years later for "Shawshank Redemption." They were watching in 2002 when Berry and Washington received best acting awards and Poitier was presented his special honorary award for "remarkable accomplishments."

It is not lost on Dixon and Bazemore, who were born and raised in the South during the nation's Jim Crow era, that it is still big news in 2005 for African Americans to be nominated.

Only eight major acting awards have been presented to blacks, beginning in 1939 with Hattie McDaniel's win for best supporting actress for her portrayal of Mammy in "Gone With the Wind."

"Back in 1963, when Sidney Poitier was nominated, it was everywhere," said Dixon, a retired D.C. public school administrator. "On the night of the telecast, I was at home and I remember my whole family sat together and watched the program -- my mother, father, sister and brother. And everybody we knew watched it. It was a moment when black people were really proud."

Bazemore said he thought at the time that a barrier had been broken.

"It surprises me but not shocks me that after all this time, blacks are still not being recognized as they should be and that it is such a big deal now for there to be five black" acting nominations, he said.

Rock, known for his irreverence, noted as much when he presented an Oscar in 1999. "Look at this crowd," he said, peering out at the audience. "It's like the million white man march."

This year's roster of nominees, though, has brought some hope to Electa Geer, 62, of Rockville and her granddaughter Amber, 15, an aspiring actress.

"Times are changing," Geer said.

"I told Amber that these nominations may mean that things are getting better and that there will be more good parts for blacks by the time she gets to Hollywood."

Who gets to vote?

Sunday night, millions will be glued to their sets to take part in the annual Hollywood ritual known as the Oscars. The following morning, they'll take part in an even more popular ritual: Oscar bashing.

By Daniel Bubbeo

Sunday night, millions will be glued to their sets to take part in the annual Hollywood ritual known as the Oscars. The following morning, they'll take part in an even more popular ritual: Oscar bashing.

We can already hear the cries of, "Who votes for these things anyway?" Well, in case you do want to know, the answer is the well-oiled voting machine of 5,808 performers, producers, directors, technicians and artisans who make up the Academy of Motion Picture Arts & Sciences.

The nominating process begins in December, when ballots are mailed to members. Artists in each branch nominate their peers, says John Pavlik, academy spokesman. So, actors nominate actors, directors pick directors, costume designers choose costume designers, etc., and they all select the best picture nominees.

The exceptions are foreign-language film, documentary short, documentary feature, live-action short and animated short, where nominees are selected by screening committees who have to view the films, Pavlik says.

The most recent wrinkle in the process came in 2001, when the documentarians became their own branch with screening committees made up of its members. (An alliance of four stunt organizations is petitioning the academy to create a new category honoring stunt coordinators.)

Once the nominations were announced Jan. 25, members could then vote by secret ballot in every category. The scientific and technical awards for "devices, methods, formulas, discoveries or inventions of special and outstanding value to the arts and sciences of motion pictures" are handled separately. These awards, handed out Feb. 12, are recommended by the Scientific and Technical Awards Committee and voted by the academy's board of governors, Pavlik says.

Scribe's Dogged Route To Ray
Oscar Race Lands Outside Mainstream
Eastwood Still Fighting For The Green Light
The Oscars' Black History Lessons
Race and 'Ray'
Clothes Make The Movie


55 films, 5 CDs, 3 weeks, 1 voter

The journey of a new academy member

LOS ANGELES, California (AP) -- Keith David popped in a DVD of "Vera Drake" and settled into the comfort of his pillow-strewn brown sofa. The veteran actor had decisions to make -- lots of them -- that would affect careers and coffers alike.

David is a new member of one of the world's most exclusive voting blocs, the Academy of Motion Picture Arts and Sciences. He's deciding for the very first time who gets to go home with an Oscar on Sunday.

"My vote counts," he said. "It's like I'm the Electoral College."

David, animator Brad Bird, actress Scarlett Johansson and costume designer David C. Robinson were among 127 people invited to join the 5,808-member academy last year.

"It's really nice to be able to feel like you have some part of who is recognized," said Johansson, 20, one of the youngest voters. "Maybe I should've done a bet with somebody to see if my picks win."

Watching 35 movies -- plus 10 short subjects and 10 documentaries -- and listening to five CDs of nominated songs in barely three weeks would be nirvana to most film fans.

But it's been a race to the deadline -- a very firm 5 p.m. on Tuesday deadline -- for many academy members, most of whom have jobs and families to attend to each day. David, for instance, had to cram two or three movies in after midnight one recent evening.

Bird's also felt the squeeze.

"I feel a real rush, almost a panic, to see them all," he says, "so I'm voting from a place of knowledge and not just because I know someone on a film or I like someone on a film."

'I've seen so many in so little time'

Sometimes, the movies meld into a confusing blur.

Bird, nominated this year for original screenplay and animated feature for "The Incredibles," recently attended the academy's nominees luncheon and met best-actress contender Annette Bening. He told her he loved her in "Finding Julia."

Oops! Bird had confused "Being Julia" with best-picture nominee "Finding Neverland."

"I immediately corrected myself," he said. "I've seen so many in so little time."

Bird took his screeners -- the free tapes and DVDs of the nominees -- with him everywhere and watched at least one a day. During idle moments, he even resorted to seeing some on his computer.

Animated feature and original screenplay were Bird's easiest votes -- for himself.

"I feel like I did a good job," he said modestly.

Robinson, the New York-based costume designer, watched three movies a day. If he wasn't voting, he acknowledged he probably would have skipped "Lemony Snicket's A Series of Unfortunate Events" and "Hotel Rwanda."

"It's not brain surgery," he said. "It's the performances and movies and visual things that grab you and make you feel something. I'm going to pick the things that do that," he said in a phone interview last week.

So, did any of our first-timers vote for pals or someone who helped them get a job?

"If I felt two works were equally good and I liked one person more than another, it would push it over," Bird admitted. "But in the end, you're voting on the work."

Some Academy members, including Johansson, simply don't have the time to review all 24 categories, so they abstain from voting in contests they haven't seen.

"You want to be able to really give a fair judgment," said the busy actress.

'Torn doesn't begin to describe it'

Others skip the more technical categories, professing ignorance about the nuances of crafts such as sound mixing, sound editing, visual effects and cinematography.

But not David, a Tony- and Emmy-nominated actor whose credits include "There's Something About Mary," "Head of State" and "Barbershop."

"It's my opinion," he said. "Even if I don't know enough about it, when I look at the movie, I look at that aspect. I know how a good editor can save ... a bad director."

After watching "Vera Drake" on his 36-inch television, David scribbled down notes detailing what he liked about the illegal abortion drama starring best-actress nominee Imelda Staunton.

"Torn doesn't begin to describe it," he said. "A lot of them get the same mark, so I go back and narrow it down. The few movies that I'm very hot on, I go back and watch them again. It's hard to compare actors unless you saw them all play the same role."

Bird will be in the Kodak Theatre audience on Oscar night and Johansson will be a presenter. David and Robinson, meanwhile, will have to watch the fruits of their labors on TV because there's not enough room at the Kodak for every academy member.

But that hasn't dimmed David's regard for Hollywood's highest honor.

"I'm very glad they changed the language to 'The Oscar goes to,' instead of 'The winner is,' " David said. "There are no losers here."


Black Performers Move Into Oscar Spotlight

By Steve Gorman

LOS ANGELES (Reuters) - Black comedian and Oscar host-to-be Chris Rock recently confessed he had seldom watched the Academy Awards, except in 2002 when he tuned in to see the historic triumphs of Halle Berry and Denzel Washington.

"Come on, it's a fashion show," he said half-jokingly in a magazine interview. "What straight black man sits there and watches the Oscars? Show me one. And they don't recognize comedy and you don't see a lot of black people nominated, so why should I watch it."

This year he is not only watching but hosting a show in which a record number of minority performers are vying for top honors.

Four blacks -- Jamie Foxx, Don Cheadle, Morgan Freeman and Sophie Okonedo -- and a Latina actress -- Colombian native Catalina Sandino Moreno -- have amassed a total of six nominations.

And "Ray," the biographical drama about soul music legend Ray Charles, is the first film with a predominantly African American cast to be nominated as best picture since Steven Spielberg's "The Color Purple" two decades ago.

Author George Alexander, whose book "Why We Make Movies" explored the work of black filmmakers, said this year's nominations reflect long-overdue strides blacks have made in Hollywood since Hattie McDaniel broke the Oscar color barrier in 1939 with her Academy Award-winning supporting role as Mammy in "Gone with the Wind."

"We're seeing that actors who have enormous talent but who perhaps hadn't had the opportunity to be leading men, have stepped up to the plate and gotten those opportunities, like Jamie Foxx," Alexander told Reuters.

Moreover, black actors are being recognized this year for performances in overtly heroic roles that transcend race.

Foxx, the first African American to garner two nominations in a single year, is considered a favorite to win the best actor prize for his title role in "Ray," playing the legendary musician who overcame blindness, bigotry and drug addiction to become one of America's most beloved entertainers.

"We have been so flooded with so many negative things in our community," Foxx told the London Times. "For something positive like this to happen it makes those kids and everybody just say, 'Man, maybe I can do it like Jamie Foxx did."


If he wins, Foxx would be only the third black named best lead actor, following Sidney Poitier for the 1963 film "Lilies of the Field" and Washington three years ago for "Training Day."

Foxx also picked up a nomination as best supporting actor for playing a kidnapped taxi driver opposite Tom Cruise as a contract killer in "Collateral."

In the race for best actor, Foxx faces another black performer nominated for a breakthrough leading role, Cheadle, who in "Hotel Rwanda" plays as a real-life hotel manager who helped save some 1,200 people from mass murder. Okonedo, a British-born newcomer of Nigerian descent, earned a nod as best supporting actress for playing his wife.

The nominations of Foxx and Cheadle for best actor mark only the second time in 77 years of Oscar history that two blacks are competing in that category at the same time. Washington and Will Smith went head to head three years ago.

Regardless of who wins this year, the Oscar attention accorded Foxx and Cheadle is likely to thrust both first-time nominees to the Hollywood forefront.

Meanwhile, veteran actor Freeman is hoping to finally take home a statuette from the fourth Oscar bid of his career, a nomination for his supporting role as the elderly manager of a boxing gym and the voice of reason in Clint Eastwood's "Million Dollar Baby." He previously was nominated for roles as a pimp in "Street Smart," a chauffeur "Driving Miss Daisy" and a prison inmate in "The Shawshank Redemption."

The lone minority actress up for an Oscar this year is the previously unknown Sandino, making her feature film debut as a drug mule in the Spanish-language drama "Maria Full of Grace."

Racial diversity has been slow in coming to the Oscars.

It took 10 years after McDaniel's triumph for a second black performer even to be nominated -- Ethel Waters for the 1949 racial drama "Pinky" -- and nearly a quarter century for Poitier to win his landmark Oscar for "Lilies of the Field."

Only six Oscars have gone to black actors since then, and no more than three had been nominated at once before now.

Part of that is a function of limited opportunities in Hollywood for blacks, who were long been relegated to clownish parts in comedies or to menial and criminal roles in dramas.

Blacks have also fared far worse behind the camera at the Academy Awards. Only one, John Singleton, has been nominated as best director, for "Boys N the Hood" in 1991.

The following article appeared in the February 4, 2005 issue of Entertainment Weekly Magazine

The following article appeared in the February 21, 2005 issue of Jet Magazine

The following article appeared in the February 4, 2005 issue of Entertainment Weekly Magazine

The following article appeared in the February 4, 2005 issue of Entertainment Weekly Magazine

The following article appeared in the February 14, 2005 issue of Jet Magazine

The following article appeared in the January 31, 2005 issue of Newsweek Magazine