Washington DC MOI MOI WEST AFRICAN RESTAURANT

Washington DC BBR) A New Concept by Chef Howsoon Cham. 
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Originally from The Gambia, West Africa, chef Howsoon Cham began cutting his teeth early in the high-end restaurant scene. Eventually, he went on to own several restaurants in the D.C. area. With a keen eye for details, he realized there is a lack of American food with an West African flare in D.C. 
 
So he decided to launch Moi Moi to showcase a different concept of cooking and serving the food he grew up eating. Moi Moi derives it's name from a very popular street food all over West Africa. 
 
 
 
At Moi Moi restaurant, staples like the Jollof rice with the Whole  Red Snapper, Okra Stew with fufu, Gari Crusted Catfish or the Lamb chops with cassava mint leaf pesto are a must try.. Do check out the homemade desserts and ice cream as well, they are all made in-house.
Make a reservation at Moi Moi DC, 1627 K Street NW, Washington DC 20006
 
Instagram: moimoi_dc
Telephone:202-303-0125
Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
 

Shawn Corey Carter is an American rapper, songwriter,

While the majority of people around the world have a lot of respect for African Americans, they don’t have an accurate idea of just how wealthy many of them are.

As it turns out, African Americans have been instrumental in building American wealth over the past century, and today they’re some of the richest people in the world. In 2020, approximately 41 million African Americans were living in the United States, making up about 13% of the country’s population.

Many are billionaires with African ancestry from the continent of Africa. Here are the 7 richest African Americans in the world today.

 

1) Jay-Z

Shawn Corey Carter is an American rapper, songwriter, record producer, entrepreneur, and investor. He is one of the world’s best-selling artists of all time, with a net worth of $1.4 Billion.

2) Tyler Perry

Perry started his career off with humble beginnings. His net worth is $1 billion. He created and wrote Tyler Perry’s House of Payne, which aired on TBS for 8 seasons and inspired two spin-off series. He also created Tyler Perry’s Meet The Browns, which premiered on TBS and ran for 5 seasons.

3) Kanye West

$1.8 billion (net worth) - is an American rapper, singer, songwriter, record producer, entrepreneur, and fashion designer. He has sold more than 32 million albums and 100 million digital downloads worldwide. In 2006, he was awarded a scholarship to attend art school by US President George W. Bush following a rap he did at one of his concerts criticizing Bush’s administration. This made him one of eight people to be awarded an arts scholarship by his first year in office.

4) Michael Jordan

This basketball legend is worth an estimated $1.6 billion. After getting drafted into the NBA by Chicago Bulls in 1984, Jordan became one of the greatest players of all time and won six NBA titles with his team. After retiring from basketball, Jordan’s net worth increased through endorsement deals and ownership stakes in other sports teams. He is currently a part-owner of three professional sports teams.

5) Oprah Winfrey

Born into poverty, Oprah Winfrey grew up to become one of Africa’s most popular personalities and an American media mogul. With a net worth of $2.9 billion, Winfrey is not only a self-made woman, but she also managed to create her own media empire—OWN: The Oprah Winfrey Network.

6) David Steward

With a net worth of $3.7 billion, Dav Steward is an American entrepreneur who founded three Fortune 500 companies.

7) Kim Kardashian West

How did Kim Kardashian West earn her estimated $1.8 billion net worth? Born in Los Angeles, California, on October 21, 1980, she is best known for her work on Keeping Up with The Kardashians and her role as host of E!’s fashion police.

Chicago (BBR) Following The Last Dance, several of Michael Jordan's teammates were rumored—or confirmed—to have been upset with His Airness—including his capo, Scottie Pippen. During a conversation with the Associated Press, Pippen touched on these reports and his relationship with MJ. 

"Why would I be offended by anything that happened 30 years ago?" Pippen said in a piece published on Tuesday.

 

After the Emmy-nominated docu-series aired, sources started to claim that Pippen was "beyond livid" with the way he was portrayed in the documentary and blamed that depiction on Jordan. The Last Dance touched on the highs and lows of the Bulls dynasty. This included Scottie Pippen's contract woes and infamous moments like "The Migraine Game" in 1990 and when Scottie refused to finish out a game during the 1994 playoffs. 

"It didn’t bother me at all," Pippen continued. "It was an opportunity for our younger generation that hadn’t seen or knew anything about basketball in the ‘90s."

Yet there were some players who did take opposition to Jordan's account of events like Horace Grant. During the documentary, Jordan bluntly labeled Grant as the snitch who leaked information to Sam Smith for the Jordan Rules book. Grant responded by calling Jordan a "liar" before claiming that he's ready to "settle this like men."

"Lie, lie, lie. ... If MJ had a grudge with me, let's settle this like men," Grant said in May. "Let's talk about it. Or we can settle it another way. But yet and still, he goes out and puts this lie out that I was the source behind [the book]. ... It's only a grudge, man. I'm telling you, it was only a grudge. And I think he proved that during this so-called documentary. When if you say something about him, he's going to cut you off, he's going to try to destroy your character."

Jada Pinkett Smith’s social media show “Red Table Talk” just got renewed, and spawned a spinoff.

What happened: Facebook Watch has renewed “Red Table Talk” for a multiyear deal for three years, according to The Hollywood Reporter.

  • The show will run through 2022, per Deadline.
  • It will include Pinkett Smith, Willow Smith and Adrienne Banfield Norris.
  • Facebook Watch also added a new spinoff show called “Red Table Talk: The Estefans,” which will be hosted by Gloria Estefan along with her daughter Emily, and her niece Lili.

What they’re saying: Mina Lefevre, head of development and programming at Facebook Watch, cheered the move, according to The Hollywood Reporter.

  • Lefevre: “We’ve been fortunate enough to be in business with such wonderful partners and are thrilled to expand the ‘Red TableTalk’ franchise with Jada Pinkett Smith, the Estefans and Westbrook Studios. ‘Red Table Talk’ is a shining example of how content, community and conversation come together on Facebook Watch. We’re proud to keep this conversation going around topics our fans care about.”
  • Pinkett Smith: ”I’m incredibly proud of ‘Red Table Talk,’ and thrilled to build upon this franchise with my family and with Gloria, Emily and Lili. ‘Red Table Talk’ has created a space to have open, honest and healing conversations around social and topical issues, and what’s most powerful for me is hearing people’s stories and engaging with our fans in such a tangible way on the Facebook Watch platform. I’m excited to see the Estefans put their spin on the franchise and take it to new places.”

2019 headlines: “Red Table Talk” made headlines multiple times in 2019. Here are a few of the reports on those headlines.

“Break records at Louis, ate breakfast at Gucci, My girl a superstar all from a home movie. Bow on our arrival, the un-American idols, What niggas did in Paris, got 'em hangin' off the Eiffel” -Kanye West, Clique

Washington, DC (BBR) - Time will tell if Kanye West’s White House bid is an earnest effort to assume the presidency or a publicity stunt to fuel future record sales. Regardless, his candidacy lacks national viability and it is doubtful he would attract enough votes to effectively sway the outcome on Election Day. However, Candidate Kanye’s theatrics run the risk of diminishing, and at worst, making light of the myriad issues roiling America today.

Ever since stepping on the scene with the 2004 release of his debut album, College Dropout, Kanye West has offered a searing critique of the altars of consumerism and entertainment where Americans worship artfully blending humor, theology, sexuality, eroticism, social justice, and politics. West, throughout his career, has held a mirror up to society, the culture, and himself in ways that has allowed me to look past some of his most outlandish antics. Why? Because I’ve seen through the veil of the theater and his perpetual “wardrobe changes” for what they are—naked attempts to keep the congregation (ahem) audience engaged.

One of my favorite Kanye tracks is “I Love Kanye” from his seventh album Life of Pablo, where he essentially tells his audience that the person we all fell in love with was really just a character he was developing, which is constantly being refined. Surprise! The joke’s on you.

Kanye Omari West is to Kanye West what Rudy Ray Moore is to Dolemite.

Before cloaking himself as presidential candidate, West’s previous wardrobe change was to eschew making secular and profane music, in favor of tunes that are spiritually inspired. Throughout his career, West has always engaged in God talk (praise, worship, and lament) explicitly and through innuendo. Even in some of his most vulgar lyrics, expressions of his faith can be found.

But at the same time, West was also aware that he stood on an altar and was the subject of adoration.

“When a nigga blowup they gonna build statues for me,” he raps on the all-star track “Forever” which features Drake, Lil Wayne, and Eminem. While West’s verse begins with bravado it ends with him mourning the recent death of his mother and shallowness of the fame he initially craved. “Chasing the stardom would turn you into a maniac, All the way in Hollywood and I can’t even act, They pull their cameras out and God damn they snap, I used to want this thing forever y'all can have it back.”

However, rather than retreat from the spotlight his antics would reach even greater heights, including memorably snatching the microphone away from Taylor Swift at the 2009 MTV Video Music Awards. His next album, arguably his magnum opus, was released with a 35-minute short film. The movie is about a Phoenix who falls to earth and becomes West’s girlfriend but has to eventually leave him to return to the celestial and heavenly world from which she came.

In subsequent years, West would go on to release albums and songs with titles like “Watch The Throne,” “Who Gon Stop Me,” “Yeezus,” “I am A God,” “Ultralight Beam,” and now “Jesus is King.”

It seems that West has also concluded that religion and popular culture have a lot in common. Indeed, for the past year or so, West has been holding revival style concerts called “Sunday Service.” They started as small invite-only sessions that centered around a gospel choir and testimonies from West’s celebrity friends. Then this summer at the Coachella Valley Music and Arts Festival, West held a sunrise Sunday Service atop a mound while dressed in a flowing tunic.

Isaac Hayes was Black Moses, now Kanye West is Black Jesus.

While not billed as a tour, West has taken Sunday Service on the road, including performing on the campus of Howard University during homecoming and at churches in Atlanta and Los Angeles.

It seems West has answered the question he posed back in 2010 through the song “Gorgeous”: “Is hip hop just a euphemism for a new religion? The soul music for the slaves that the youth is missing.”

However, I am critical of what West is offering in his latest manifestation. Beyond the recent embrace of right-wing political ideology, what is more troubling is that he is calling people to the altar to worship without any sacrifice. I find it deeply troubling that the white evangelical Protestants who backed George W. Bush—a man West famously declared didn’t “care about Black people” on live television—are now praising his music through various media platforms.

I don’t know if West, the faith leaders, and universities that have hosted him are making a mockery out of religion. But I believe that faith and worship should be tied to earthly and spiritual transformation. So, if religion ain’t revolution, then you are just getting high.

BBR ( Los Angeles)  - 2020 It has been confirmed by multiple outlets that 2017 Oscar winner and NBA legend Kobe Bryant has died at the age of 41 following a helicopter crash in Calabasas, California. Bryant is reportedly one of a group of at least five people who died during a Sunday morning helicopter flight.

Initially reported by TMZ Sports (and soon corroborated by the Los Angeles TimesThe Hollywood Reporter, and other outlets), Bryant was on board a private helicopter with at least five other people on Sunday morning. It is believed, per TMZ, that a fire broke out on the helicopter which caused it to crash in Calabasas. TMZ also reported that eyewitnesses allegedly heard the helicopter’s engine sputtering before it eventually crashed. Even with these details, officials are still investigating to determine the true cause of the crash. It is unconfirmed at this time who else was on board the helicopter. Bryant’s wife, Vanessa Bryant, was not on board.

Bryant leaves behind a towering legacy primarily thanks to his 20-plus year career playing for the NBA team the Los Angeles Lakers. He was a five-time NBA champion and 18-time All-Star selection. As far as his time with the Lakers is concerned, Bryant racked up many superlatives, including leader in points (33,643), steals (1,944),  3-pointers (1,827), free throws (8,378), and games played (1,346). Until Saturday, January 24, Bryant was the number 3 scorer in NBA history before LeBron James overtook him and secured that spot over the weekend. He was also voted the NBA’s Most Valuable Player in 2008. He retired from the NBA in 2016. Following his retirement, Bryant won an Oscar in 2018 for Best Animated Short for his autobiographical Dear Basketball.

Daniel Kaluuya in “Get Out,” which announced its writer-director, Jordan Peele, as a major new filmmaker.Credit...Justin Lubin/Universal Pictures

As we come to the end of 2019, there are many lists being made about the best or most important movies of the 2010s. But I am not seeing a focus on movies by black filmmakers about black lives.

A few critics’ lists have included “Moonlight” or “Get Out,” but they have left off the vast majority of black films with impact. I’d argue that the 2010s were the most important decade for black film in America. We see dramas (“12 Years a Slave”), comedies (“Girls Trip”), horror (“Get Out,” “Us”) and documentaries (“13TH” and “O.J.: Made in America”) all being taken seriously critically, and most were successful financially.

So, the question I’d like to consider is a rather simple one: What were the best black films of the past decade? Here are my answers, in alphabetical order:

‘Black Panther’

 

The cultural impact of Marvel’s 2018 trip to Wakanda (directed by Ryan Coogler) cannot be overstated. Black moviegoers wore the best African attire they could find to the theater. Events weuilt around the showings, complete with face painting and African dance contests. What surprised me was that the film was actually good, and, boldly, it featured few white people. That did not stop the masses from making it one of Marvel’s most successful films both critically and financially.

‘Creed’

The director Ryan Coogler took an essentially dead franchise centered on a white man (“Rocky”), and turned it into an existential examination of black masculinity in the wake of industrial decline. The black residents of Philadelphia are as much a character in this 2015 movie as is Michael B. Jordan’s Creed. And while it gives you the predictable chills of every “Rocky” movie ever made, it does so with an unapologetic eye for the way black heroes carry not only their hopes and dreams, but also the dreams of the community they represent.

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‘Get Out’

This 2017 horror parable is well written and directed by Jordan Peele, announcing the emergence of a major filmmaker. The subtle choices mark this as arguably the film of the decade. The fact that Peele chooses to tell a story in which all the white people are villainous forced us to come to terms with the pervasive racism in seemingly liberal communities in the North, instead of focusing on the racism in the South. The way ideas like the Sunken Place have entered the American lexicon is a testament to the powerful storytelling and imagery. This was not just a great film, but a groundbreaking one.

‘Girls Trip’

This was the movie that made Tiffany Haddish a star. In this 2017 comedy from Malcolm D. Lee, Haddish, like Melissa McCarthy in “Bridesmaids,” forced the world to make way for her infectious, if at times annoying, brand of comedy. She steals every scene she is in, but in a way that complements her co-stars instead of taking away from their performances. But it is the story that makes this more than just another raunchy comedy. Yes, there are many funny set pieces, but everything that happens is authentically grounded in the character’s choices, elevating the material. This was a huge commercial and critical success, proving that white and black audiences will turn out to watch comedies about black lives.

‘Moonlight’

What else can be said about Barry Jenkins’s breakout drama from 2016? It is a sensitive, deliberate examination of what it means to be a black, queer boy born into a world that accepts neither you nor the people you love. It is exquisitely shot and superbly acted (with Mahershala Ali and Trevante Rhodes giving standout performances). But what we most remember about this film is the way “La La Land” was mistakenly announced as best picture when, in reality, “Moonlight” had won. For once the Oscars actually recognized the best film of the year.

‘O.J.: Made In America’

Its seven-hour-plus run time (and the decision to follow its theatrical run with a multipart broadcast on television) led to debates about what constitutes a film. But the narrative thrust and momentum of this 2016 documentary about the former N.F.L. star O.J. Simpson and the murders of Nicole Brown Simpson and Ronald L. Goldman point to its being worthy of this list. The depth of the athlete’s racial delusion remains dizzying (“I’m not black; I’m O.J.,” he once said), but what Ezra Edelman’s film does best is to show how America’s response to his 1995 trial uncovered a deep racial and cultural divide in our country — a divide that was made apparent when the jury made the unwise decision to find him not guilty.

‘Selma’

This is not a perfect movie, but it is an important one. It took decades to get a major motion picture about the Rev. Dr. Martin Luther King Jr. off the ground, and while this 2014 drama plays a little too fast and loose with the history surrounding President Lyndon B. Johnson for my taste, the way it depicts King, his inner circle and the black people he came into contact with was spot on. What’s more, the director Ava DuVernay’s decision to include discussions about King’s infidelity was an act of courage, the choice of a new filmmaker with bold ideas.

‘Sorry to Bother You’

This 2018 satire written and directed by Boots Riley isn’t for everyone. It’s quirky. Its humor is offbeat. It plays with magical realism without fully committing to the logic of that kind of storytelling. In this tale of a telemarketer’s rise thanks to his “white voice,” humans turn into “equisapiens,” and that narrative stretch makes sense within the story. This is a bebop jazz film that feels as if Riley made it while in an ecstatic religious state. It is also a brilliant, piercing examination of the way capitalism forces black Americans to choose between being their authentic selves and the people that corporate America wants them to be. And it has one of the best examples of code switching I’ve ever seen captured onscreen. I found this film abrasive when I first saw it, but with repeat viewings, its stature has grown in my eyes.

‘Spider-Man: Into The Spider-Verse’

I’ve had my quibbles, but I cannot deny the impact this 2018 movie had on young black boys like my son. They were able to see a superhero movie that centered on a person who not only looked like them, but who was navigating a white world in a body that is looked on with suspicion. Watching the film (directed by Bob Persichetti, Peter Ramsey and Rodney Rothman)is the closest moviegoing experience to actually reading a comic, and the visuals are jaw-dropping.

‘12 Years a Slave’

I hesitated to include this 2013 drama, directed by Steve McQueen and adapted from the memoirs of Solomon Northup, an African-American freeman enslaved and sent to the South. About three-fourths of the way into the film, Solomon has a fateful discussion with a white laborer, Bass, played by Brad Pitt. Bass agrees to mail a letter for Solomon explaining the chain of events that led to his being freed, thus making Bass the standard white savior. But McQueen crams beauty into every place he can, including that of the American South. And yet he unflinchingly depicts the abuse suffered by enslaved black people in an unsentimental way. To my mind, this is the definitive film about slavery, and the Oscar-winning performance by Lupita Nyong’o as the enslaved mistress Patsey is as heartbreaking as it is memorable.

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