Posts tagged with "black fraternity"

Vaughn Hebron QxA

The Oval,” the hit BET show from Tyler Perry, will return to homes for its second season in Oct., and Vaughn Hebron is front and center.

Playing Barry, a man whose daughter was kidnapped by his ex-girlfriend, Hebron finds himself in the middle of a show about an interracial family living in the White House. Perfect on the outside but full of lies on the inside, the family brings some of the best drama to television.

Hebron was born in Baltimore and attended Pennsylvania’s Lafayette College on a Division 1 football scholarship. At Lafayette College, he joined Omega Psi Phi Fraternity and eventually graduated with a Bachelor of Arts Degree in Economics and Business and minor in Africana Studies.

He began a career in pharmaceuticals but eventually moved to Los Angeles to pursue acting. Early on he booked commercials, and he’ll appear in the Will Smith-led “King Richard” in 2021.

Hebron answered a few questions for 360 MAGAZINE regarding “The Oval,” the entertainment industry and his future.

360: Tell us about “The Oval” and your character and what we can look forward to in season 2.

Hebron: “The Oval” is a Tyler Perry soap, set in the White House, that centers around the First Family and their staff. Well, at least it did in the first season. The series has expanded and plunged into the personal and dramatic lives of each individual and is now a whirlwind of dramatics and juicy story lines. I play Barry Hallsen on the show, the son of the White House Head Butler. Barry is a young man in his early 20s trying to establish himself while providing for his daughter, Callie. In the first season, he faces extreme challenges in and out of the White House, namely having his daughter kidnapped by his baby mother, Ruth, who is part of a vicious cult. The first season follows his journey to finding his daughter and the many problems he creates for himself in doing so. What viewers can look forward to in the second season is Barry getting closer to finding his daughter but also getting closer to the imminent danger that surrounds her.

360: Before you became an actor, you were in pharmaceutical sales. How was the transition, and are you excited about the career change?

Hebron: The transition was a big adjustment, going from a steady, regular paycheck and working every day to not knowing when the next time I’ll be working but still getting paid for it. Basically, I had to start all over from square one and figure things out each step of the way. It was intimidating and uncertain, but it’s also been very fulfilling. It feels like I am being driven by something that I never felt in my corporate career: a new sense of purpose. The unknowingness was both scary and exciting.

360: What has been your biggest challenge thus far in the industry?

Hebron: Coming from a corporate background, I was used to a lot of structure. There were always deadlines, expectations that would be met, structured and upkept working conditions, and if there were any questions, someone there to help. There’s almost none of that in the industry. There are no set timelines on when we book jobs, no set path on how to be successful and reach a certain level in your career and no formal performance evaluations. Even asking for help could be just as bad as not asking for help. The biggest challenge for me was adjusting to this space of having to completely trust in the process and letting God take the wheel. I had to surrender to the journey and have faith that the things I was doing were going to work out the way they were meant to. I really had to believe that everything would happen for a reason. It was a complete mindset shift; a completely different life. I still struggle with it at times.

360: Where do you see your career in 5 years? 10 years?

Hebron: Well, one of the first lessons I learned in this industry is that you can’t put a timeline on things. At all. They could happen way sooner, or way later than you think, so just be open and ready when the time comes. My ultimate goal in this industry is to become an A-list storyteller. That’s the level I want to be at. However, storytelling comes in many different forms. Obviously acting is the main form of storytelling that I’m doing right now, but I’ve also written and pitched TV shows and see myself dabbing in that. I also see myself directing and producing one day as well. Additionally, I have a lot of ideas outside of the industry for my fitness and business, and of course I want to have a family one day.

360: Do you have any future projects that you’re allowed to talk about?

Hebron: Yes, I will be in the upcoming feature film “King Richard” starring Will Smith, as one of the main antagonists, hitting theaters Nov. 2021. We are working a couple other projects that are under wrap right now.

To learn more about Hebron, you can click right here.

You can also follow Hebron on Instagram and Twitter.

Homecoming

Netflix released Homecoming: A Film by Beyoncé, which presents an intimate look at her historic 2018 Coachella performance that paid homage to America’s historically black colleges and universities (HBCUs). Interspersed with candid footage and interviews detailing the preparation and powerful intent behind her vision, Homecoming gives a peek into the process and emotional physical sacrifices it took to conceptualize and execute a performance of that magnitude that became a cultural movement. This stand-alone Netflix original is now available globally on Netflix.

As the first black woman to headline Coachella, Homecoming recognizes the African American visionaries who inspired Beyoncé, including HBCU alums Toni Morrison, Alice Walker, activist Marian Wright Edelman, and scholar W.E.B. Du Bois, in addition to cultural luminaries such as Nina Simone, Maya Angelou, Chimamanda Ngozi Adichie, and Audre Lorde. Beyoncé’s personal knowledge of the relevance and celebration of HBCUs started with her father, Mathew Knowles, an alumnus of Fisk University.
Shot over eight months, the film follows the global entertainer as she returns to the stage after the birth of her twins, highlighting the comprehensive preparation involved in creating her groundbreaking performance, which included four months of band rehearsals followed by four months of dance rehearsals with over 150 musicians, dancers, and other creatives, — all of whom were hand-picked by the artist herself.
In juggling dual roles as both the director of her live performance and the film that captured the process of making it, Beyoncé says, “It was one of the hardest jobs I have taken on but I knew that I had to push myself and my team to go beyond great to legendary. We knew nothing like this was ever done on a festival level before and it needed to be iconic beyond compare. The performance was an homage to an important part of African American culture. It had to be true to those who know and entertaining and enlightening to those who needed to learn. In making the film and re-telling the story, the purpose remained the same.”
Many in the cast; band, singers, dancers and steppers are former HBCU students, immersed in the HBCU marching band tradition. They joined Beyoncé’s own group of performers, some who have toured with her for years. Viewers not only get to see the intense dance rehearsals and talent of these amazing artists, but hear their personal journey from HBCU student to artist and the lifelong impact that comes with performing alongside Beyoncé in this historic concert.
“So many people who are culturally aware and intellectually sound are graduates from historically black colleges and universities, including my father,” she says in the film. “There is something incredibly important about the HBCU experience that must be celebrated and protected.”
As a treat to her fans, the film also includes, in the end credits, her remake of “Before I Let Go” by Frankie Beverly and Maze, a 1981 R&B classic that’s commonly performed at HBCU games. The single will be available on the film’s soundtrack, Homecoming: The Live Album, available today from Parkwood Entertainment and Columbia Records. smarturl.it/BH9102
Homecoming: A Film by Beyoncé was directed and produced by Beyoncé Knowles-Carter. Longtime collaborator Ed Burke served as co-director. Steve Pamon and Erinn Williams are executive producers.
Set List

“Crazy In Love”

“Freedom”

“Lift Ev’ry Voice And Sing”

“Formation”

“Sorry”/”Me, Myself and I”

“Kitty Kat”

“Bow Down”

“I Been On”

“Drunk In Love”

“Diva”

“Flawless” (Remix)

“Feeling Myself”

“Top Off”

“7/11”

“Don’t Hurt Yourself”

“I Care”

“Partition”

“Yoncé”

“Mi Gente (Remix)”

“Mine”

“Baby Boy”

“You Don’t Love Me (No, No, No)”

“Hold Up”

“Countdown”

“Check On It”

“Déjà Vu”(featuring JAY-Z)

“Run the World (Girls)”

“Lose My Breath” (featuring Kelly Rowland and Michelle Williams)

“Say My Name” (featuring Kelly Rowland and Michelle Williams)

“Soldier” (featuring Kelly Rowland and Michelle Williams)

“Get Me Bodied” (With Solange Knowles dancing)

“Single Ladies (Put a Ring on It)”

“Love On Top”

About Netflix
Netflix is the world’s leading internet entertainment service with over 148 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.
About Parkwood Entertainment
Parkwood Entertainment is an entertainment and management company founded by entertainer and entrepreneur, Beyoncé in 2010. With headquarters in New York City the company houses departments in music and video production, management, marketing, digital, creative, philanthropy, fashion, publicity and a record label. Under its original name, Parkwood Pictures, in 2008, the company released the film Cadillac Records (2008), in which Beyoncé starred and co-produced. The company also released the film, Obsessed (2009), with Beyoncé as star and executive producer. Parkwood Entertainment produced The Mrs. Carter Show World Tour (2013-2014) and The Formation World Tour (2016), and co-produced the ON THE RUN TOUR (2014) and ON THE RUN II (2018).

Beyoncé, netflix, Homecoming

Beyoncé’s Homecoming

Writers: Vaughn Lowery, Tara McDonough, Stella Iman Dugall

Every once in a while pop culture encounters a rip in its continuum. The latest breach comes from one of the most effervescent entertainers of all time, Beyoncé Giselle Knowles Carter, as the first Black female to headline one of the most prolific festivals since the iconic Woodstock. Introspective yet intimate, Homecoming is positioned to be one of the most immersive concert series in the history of music and streaming services. Beyoncé, the Director and Executive Producer of the film, creates a visually captivating story from the beginning to end. The documentary answers a plethora of questions, at which the infamous Beyhive has had about the historical moment.

With intermittent quick cuts of her family before, during and after the epic performance, Beyoncé gives herself permission to exhibit her vulnerability. After all, she planned to take the stage at Coachella in 2017 before she was pregnant with her twins. The tour was postponed and we fast forward to ‘Mrs. Carter’ having to deal with the aftermath of a complicated pregnancy, which ultimately ends in a c-section. Similar to friend, and professional tennis superstar, Serena Williams, Beyoncé bounced back harder than ever after her tough pregnancy. Throughout the piece she digs deep and pummels through some of the most difficult days she has ever encountered. She even speaks to her weighing 218 lbs and how she was only able to zip her costume up after months of hard work alongside of a dedicated clean/raw food diet – no meats, carbs, sugars. The director of photography expertly captured an extremely intimate and vulnerable side to the strong and flawless Queen Bey.

Inspiration

Having family members as graduates of some of the prominent HBCU (historically black colleges and universities), Beyoncé was able to tap into the most celebrated moments of their collegiate life. Her full show not only highlighted the history of these schools but also their social networks and fraternal organizations; transforming the stage into one of the most dynamic Black Southern spaces of cultural legacy and pride. Much of it was enunciated with their boot dancing, a traditional dance style for HBCU called J-Setting, in between transitions. These dance formations visually anchored the performance. Contortionists contributed an urban Cirque du Soleil vibe to the display which can be more accurately described as an infused gumbo of Chicago (the musical), Moulin Rouge! and the Off-Broadway play Stomp. To date, the pyramid stage has been persevered onsite at this year’s Coachella as an art installation.

A group of 200 people shared the stage with Queen Bey including Jay Z, Kelly Rowland, Michelle Williams and Solange Knowles. The expansive crew that Beyonce worked and practiced with for 8 months is featured in the documentary, as each individual had their own part in making the event a success. The dancing in her set is not technical, but emotional. The crowd, as well as audiences watching the documentary at home, are meant to feel something from just the way Beyoncé and her dancers, who she handpicked herself, move with each other. The concert experience not only exhibits the immense talent of HBCU musicians but works towards using this heightened exposure to aid these institutions that have been struggling with little resources and grants since their establishment.

After the the release of Homecoming, Netflix will more than likely notice a spike in downloads/subscriptions; Beyonce will notice an increase in her fan base and HBCU enrollment rates will most likely skyrocket. Overall, most audience members will be thrashed into a world of black honor, history and preservation. While the Pew Report notes that there is a varying “black/white digital divide” concerning internet usage, (87% whites, 80% blacks), there is little divide when it comes to mobile platforms. The growth of black presence in media, such as on social media, in streaming services and more, will only continue due to the imminent success of Beyoncé’s partnership with Netflix. Her myriad of success as a dominant Black woman breaks down barriers in the same way Jordan Peele has done for young Black filmmakers across the diaspora. This will become one of the most treasured pieces of mass media and should offer encouragement to both women and minorities to bust through the glass ceiling on all fronts especially digitization and technology.

Beyoncé, Netflix, Homecoming

Illustrator: Alejandra Villagra

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