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Here's The Full List Of 2018 NAACP Image Awards Winners

Clap for 'em! 

The 49th NAACP Image Awards were handed out over two nights, Sunday and Monday, in Pasadena, awarding director Ava DuVernay with the entertainer of the year prize and Girls Trip with best motion picture of the year.

Black-ish star Anthony Anderson returned as host of Monday's ceremony, which aired live on TV One (a one-hour pre-show aired before the live ceremony).

Power on Starz and black-ish on ABC won best television drama and comedy, respectively. Daniel Kaluuya won best actor in a motion picture for Get Out and Octavia Spencer brought home best actress in a motion picture for Gifted. black-ish's Anthony Anderson and Tracee Ellis Ross landed best actor and actress in a television comedy, respectively, while Power's Omari Hardwick and Empire's Taraji P. Henson were crowned best actor and actress in a drama series.

Special honors went to the surviving 1968 Memphis sanitation "I Am a Man" workers (Vanguard Award), labor union organizer and leader William Lucy (Chairman's Award) and actor-activist Danny Glover (President's Award).

On Sunday, 47 awards were handed out at a gala dinner in the non-televised portion of the awards show. That ceremony was hosted by The Real's Adrienne Houghton, Loni Love, Jeannie Mai and Tamera Mowry-Housley.

Awards in nine categories, plus entertainer of the year, were handed out Monday.

See all of Sunday's and Monday's winners below.


Entertainer of the Year

Ava DuVernay (WINNER)
Bruno Mars
Chadwick Boseman
Chance the Rapper
Issa Rae

Outstanding Motion Picture

Girls Trip (Universal Pictures) (WINNER)
Detroit (Annapurna Pictures)
Get Out (Universal Pictures)
Marshall (Open Road Films)
Roman J. Israel, Esq. (Sony Pictures Entertainment)

Outstanding Actor in a Motion Picture

Daniel Kaluuya - Get Out (Universal Pictures) (WINNER)
Algee Smith - Detroit (Annapurna Pictures)
Chadwick Boseman - Marshall (Open Road Films)
Denzel Washington - Roman J. Israel, Esq. (Columbia Pictures)
Idris Elba - The Mountain Between Us (20th Century Fox)

Outstanding Drama Series

Power (Starz) (WINNER)
Greenleaf (OWN)
Queen Sugar (OWN)
This Is Us (NBC)
Underground (WGN America)

Outstanding Comedy Series

black-ish (ABC) (WINNER)
Ballers (HBO)
Dear White People (Netflix)
Insecure (HBO)
Survivor's Remorse (Starz)

Outstanding Actor in a Drama Series

Omari Hardwick - Power (Starz) (WINNER)
Kofi Siriboe - Queen Sugar (OWN)
Mike Colter - Marvel's The Defenders (Netflix)
Sterling K. Brown - This Is Us (NBC)
Terrence Howard - Empire (FOX)

Outstanding Actress in a Comedy Series

Tracee Ellis Ross - black-ish (ABC) (WINNER)
Danielle Brooks - Orange is the New Black (Netflix)
Issa Rae - Insecure (HBO)
Loretta Devine - The Carmichael Show (NBC)
Niecy Nash - Claws (TNT)

Outstanding Actress in a Drama Series

Taraji P. Henson - Empire (FOX) (WINNER)
Jurnee Smollett-Bell - Underground (WGN America)
Kerry Washington - Scandal (ABC)
Rutina Wesley - Queen Sugar (OWN)
Viola Davis - How to Get Away with Murder (ABC)

Outstanding Actor in a Comedy Series

Anthony Anderson - black-ish (ABC) (WINNER)
Aziz Ansari - Master of None (Netflix)
Dwayne Johnson - Ballers (HBO)
Keegan-Michael Key - Friends from College (Netflix)
RonReaco Lee - Survivor's Remorse (Starz)

Outstanding Actress in a Motion Picture

Octavia Spencer - Gifted (Fox Searchlight Pictures) (WINNER)
Amandla Stenberg - Everything, Everything (Warner Bros. Pictures / Metro-Goldwyn-Mayer Pictures)
Danai Gurira - All Eyez on Me (Summit Entertainment)
Halle Berry - Kidnap (Aviron Pictures)
Natalie Paul - Crown Heights (Amazon Studios)

Outstanding Supporting Actor in a Comedy Series


Jay Ellis - Insecure (HBO) (WINNER)
Ernie Hudson - Grace and Frankie (Netflix)
John David Washington - Ballers (HBO)
Omar Miller - Ballers (HBO)
Tituss Burgess - Unbreakable Kimmy Schmidt (Netflix)

Outstanding Supporting Actress in a Comedy Series


Marsai Martin - black-ish (ABC) (WINNER)
Leslie Jones - Saturday Night Live (NBC)
Tichina Arnold - Survivor's Remorse (Starz)
Uzo Aduba - Orange is the New Black (Netflix)
Yvonne Orji - Insecure (HBO)

Outstanding Supporting Actor in a Drama Series

Joe Morton - Scandal (ABC) (WINNER)
Bryshere Gray - Empire (FOX)
Dondre Whitfield - Queen Sugar (OWN)
Jussie Smollett - Empire (FOX)
Trai Byers - Empire (FOX)

Outstanding Supporting Actress in a Drama Series

Naturi Naughton - Power (Starz) (WINNER)
Lynn Whitfield - Greenleaf (OWN)
Samira Wiley - The Handmaid's Tale (Hulu)
Susan Kelechi Watson - This Is Us (NBC)
Tina Lifford - Queen Sugar (OWN)

Outstanding Television Movie, Limited-Series or Dramatic Special

The New Edition Story (BET) (WINNER)
Flint (Lifetime)
Shots Fired (FOX)
The Immortal Life of Henrietta Lacks (HBO)
When Love Kills: The Falicia Blakely Story (TV One)

Outstanding Actor in a Television Movie, Limited-Series or Dramatic Special

Idris Elba - Guerrilla (Showtime) (WINNER)
Bryshere Grey - The New Edition Story (BET)
Laurence Fishburne - Madiba (BET)
Mack Wilds - Shots Fired (FOX)
Woody McClain - The New Edition Story (BET)

Outstanding Actress in a Television Movie, Limited-Series or Dramatic Special

Queen Latifah - Flint (Lifetime) (WINNER)
Jill Scott - Flint (Lifetime)
Oprah Winfrey - The Immortal Life of Henrietta Lacks (HBO)
Regina King - American Crime (ABC)
Sanaa Lathan - Shots Fired (FOX)

Outstanding News / Information - (Series or Special)

Unsung (TV One) (WINNER)
News One Now (TV One)
Oprah's Master Class (OWN)
The Story of Us with Morgan Freeman (National Geographic)
Through the Fire: The Legacy of Barack Obama (BET)

Outstanding Talk Series

The Real (Syndicated) (WINNER)
Jimmy Kimmel Live! (ABC)
Super Soul Sunday (OWN)
The Daily Show with Trevor Noah (Comedy Central)
The View (ABC)

Outstanding Reality Program/Reality Competition Series

The Manns (TV One) (WINNER)
Iyanla: Fix My Life (OWN)
Martha & Snoop’s Potluck Dinner Party (VH1)
Shark Tank (ABC)
United Shades of America with W. Kamau Bell (CNN)

Outstanding Variety or Game Show (Series or Special)

Lip Sync Battle (Spike) (WINNER)
Black Girls Rock! 2017 (BET)
Dave Chappelle: The Age of Spin & Deep in the Heart of Texas (Netflix)
Def Comedy Jam 25 (Netflix)
Saturday Night Live (NBC)

Outstanding Children's Program

Doc McStuffins (Disney Junior) (WINNER)
Free Rein (Netflix)
Nella the Princess Knight (Nickelodeon)
Project Mc² (Netflix)
Raven's Home (Disney Channel)

Outstanding Performance by a Youth (Series, Special, Television Movie or Limited Series)


Caleb McLaughlin - Stranger Things (Netflix) (WINNER)
Ethan Hutchison - Queen Sugar (OWN)
Lonnie Chavis - This Is Us (NBC)
Marsai Martin - black-ish (ABC)
Michael Rainey - Power (Starz)

Outstanding Host in a Talk or News/Information (Series or Special) - Individual or Ensemble

Roland Martin - News One Now (TV One) (WINNER)
Fredricka Whitfield - Fredricka Whitfield (CNN)
Morgan Freeman - The Story of Us with Morgan Freeman (National Geographic)
Neil deGrasse Tyson - StarTalk with Neil deGrasse Tyson (National Geographic)
Trevor Noah - The Daily Show with Trevor Noah (Comedy Central)

Outstanding Host in a Reality/Reality Competition, Game Show or Variety (Series or Special) - Individual or Ensemble

LL Cool J - Lip Sync Battle (Spike) (WINNER)
Alfonso Ribeiro - America’s Funniest Home Video (ABC)
Iyanla Vanzant - Iyanla: Fix My Life (OWN)
Michael Smith and Jemele Hill - SC6 with Michael and Jemele (ESPN)
W. Kamau Bell - United Shades of America with W. Kamau Bell (CNN)

Outstanding Supporting Actor in a Motion Picture

Idris Elba - Thor: Ragnarok (Marvel Studios) (WINNER)
Laurence Fishburne - Last Flag Flying (Amazon Studios)
Lil Rel Howery - Get Out (Universal Pictures)
Nnamdi Asomugha - Crown Heights (Amazon Studios)
Sterling K. Brown - Marshall (Open Road Films)

Outstanding Supporting Actress in a Motion Picture


Tiffany Haddish - Girls Trip (Universal Pictures) (WINNER)
Audra McDonald - Beauty and the Beast (Walt Disney Studio Motion Pictures)
Keesha Sharp - Marshall (Open Road Films)
Regina Hall - Girls Trip (Universal Pictures)
Tessa Thompson - Thor: Ragnarok (Marvel Studios)

Outstanding Independent Motion Picture

Detroit (Annapurna Pictures) (WINNER)
Last Flag Flying (Amazon Studios)
Mudbound (Netflix)
Professor Marston and the Wonder Women (Annapurna Pictures)
Wind River (Acacia Filmed Entertainment)

Outstanding Documentary - (Film)

STEP (Fox Searchlight Pictures) (WINNER)
I Called Him Morgan (Submarine Deluxe/Filmrise)
Tell Them We Are Rising: The Story of Black Colleges and Universities (Firelight Films)
The Rape of Recy Taylor (Augusta Films)
Whose Streets? (Magnolia Pictures)

Outstanding Documentary - (Television)

The 44th President: In His Own Words (History) (WINNER)
Birth of a Movement (PBS)
Black Love (OWN)
The Defiant Ones (HBO)
What the Health (AUM Films and Media + First Spark Media)

Outstanding Writing in a Comedy Series

Janine Barrois - Claws - "Batsh*t" (TNT) (WINNER)
Aziz Ansari - Master of None - "Thanksgiving" (Netflix)
Justin Simien - Dear White People - "Chapter 1" (Netflix)
Issa Rae - Insecure - "Hella Great" (HBO)
Issa Rae - Insecure - "Hella Perspective" (HBO)

Outstanding Writing in a Dramatic Series

Gina Prince-Bythewood - Shots Fired - "Hour One: Pilot" (FOX) (WINNER)
Anthony Sparks - Queen Sugar - "What Do I Care for Morning" (OWN)
Ava DuVernay - Queen Sugar - "Dream Variations" (OWN)
Erica Anderson - Greenleaf - "The Bear" (OWN)
Vera Herbert - This Is Us - "Still Here" (NBC)

Outstanding Writing in a Television Movie or Special

Abdul Williams - The New Edition Story - Night Two (BET) (WINNER)
Alison McDonald - An American Girl Story: Summer Camp, Friends for Life (Amazon)
Cas Sigers-Beedles - When Love Kills: The Falicia Blakely Story (TV One)
May Chan - An American Girl Story - Ivy & Julie 1976: A Happy Balance (Amazon)
Peter Landesman, Alexander Woo, George C. Wolfe - The Immortal Life of Henrietta Lacks (HBO)

Outstanding Writing in a Motion Picture

Jordan Peele - Get Out (Universal Pictures) (WINNER)
Dee Rees, Virgil Williams - Mudbound (Netflix)
Emily V. Gordon, Kumail Nanjiani - The Big Sick (Amazon Studios)
Kenya Barris, Tracy Oliver - Girls Trip (Universal Pictures)
Mark Boal - Detroit (Annapurna Pictures)

Outstanding Directing in a Comedy Series

Anton Cropper - black-ish - "Juneteenth" (ABC) (WINNER)
Barry Jenkins - Dear White People - "Chapter 5" (Netflix)
Justin Simien - Dear White People - "Chapter 1" (Netflix)
Spike Lee - She's Gotta Have It - "#NolasChoice" (Netflix)
Ken Whittingham - Unbreakable Kimmy Schmidt - "Kimmy Bites an Onion!" (Netflix)

Outstanding Directing in a Dramatic Series

Carl Franklin - 13 Reasons Why - "Tape 5, Side B" (Netflix) (WINNER)
Ernest R. Dickerson - The Deuce - "Show and Prove" (HBO)
Gina Prince-Bythewood - Shots Fired - "Hour One: Pilot" (FOX)
Jeffrey Byrd - Switched at Birth - "Occupy Truth" (Freeform)
Jonathan Demme - Shots Fired - "Hour Six: The Fire This Time" (FOX)

Outstanding Directing in a Television Movie or Special

Allen Hughes - The Defiant Ones (HBO) (WINNER)
Chris Robinson - The New Edition Story - "Night 1" (BET)
Codie Elaine Oliver - Black Love (OWN)
Kevin Hooks - Madiba - "Night 2" (BET)
Mark Ford - Biggie: The Life of Notorious B.I.G. (A&E)

Outstanding Directing in a Motion Picture

Jordan Peele - Get Out (Universal Pictures) (WINNER)
Dee Rees - Mudbound (Netflix)
Malcolm D. Lee - Girls Trip (Universal Pictures)
Reginald Hudlin - Marshall (Open Road Films)
Stella Meghie - Everything, Everything (Warner Bros. Pictures / Metro-Goldwyn-Mayer Pictures)

Outstanding Character Voice-Over Performance

Tiffany Haddish - Legends of Chamberlain Heights (Comedy Central) (WINNER)
David Oyelowo - The Lion Guard (Disney Junior)
Kerry Washington - Cars 3 (Disney/Pixar)
Loretta Devine - Doc McStuffins (Disney Channel)
Yvette Nicole Brown - Elena of Avalor (Disney Junior)

Outstanding New Artist

SZA - Ctrl (RCA Records/Top Dawg Entertainment) (WINNER)
Demetria McKinney - Officially Yours (eOne Music)
Kevin Ross - The Awakening (Motown/Capitol Records)
Khalid - American Teen (RCA Records/Right Hand Music Group)
Vic Mensa - The Autobiography (Roc Nation/Capitol Records)

Outstanding Male Artist

Bruno Mars - "Versace On the Floor" (Atlantic Records) (WINNER)
Brian McKnight - "Genesis" (SoNo Recording Group)
Charlie Wilson - "In It to Win It" (RCA Records/P Music Group)
Jay-Z - "4:44" (Roc Nation)
Kendrick Lamar - "DAMN." (TDE/Aftermath/Interscope)

Outstanding Female Artist

Mary J. Blige - "Strength of a Woman" (Capitol Records) (WINNER)
Andra Day - "Stand Up For Something" (Warner Bros. Records)
Beyonce - "Die With You" (Columbia Records/Parkwood Entertainment)
Ledisi - "Let Love Rule" (Verve Label Group)
SZA - "Ctrl" (RCA Records/Top Dawg Entertainment)

Outstanding Album

DAMN. - Kendrick Lamar (TDE/Aftermath/Interscope) (WINNER)
4:44 - Jay-Z (Roc Nation)
Genesis - Brian McKnight (SoNo Recording Group)
In It To Win It - Charlie Wilson (RCA Records/P Music Group)
Strength of A Woman - Mary J. Blige (Capitol Records)

Outstanding Music Video/Visual Album

"That's What I Like" - Bruno Mars (Atlantic Records) (WINNER)
"4:44" - JAY-Z (Roc Nation)
"Gods" - Maxwell (Columbia Records)
"High" - Ledisi (Verve Label Group)
"Strength of A Woman" - Mary J. Blige (Capitol Records)

Outstanding Duo, Group or Collaboration

Kendrick Lamar feat. Rihanna - "LOYALTY." (TDE/Aftermath/Interscope) (WINNER)
Andra Day feat. Common - "Stand Up For Something" (Warner Bros. Records)
Charlie Wilson feat. T.I. - "I'm Blessed" (RCA Records/P Music Group)
Mary J. Blige feat. Kanye West - "Love Yourself" (Capitol Records)
SZA feat. Travis Scott - "Love Galore" (RCA Records/Top Dawg Entertainment)

Outstanding Song – Traditional

"That's What I Like" - Bruno Mars (Atlantic Records) (WINNER)
"High" - Ledisi (Verve Label Group)
"Honest" - MAJOR. (BOE/Empire)
"Surefire (Piano Version)" - John Legend (Columbia Records)
"U + Me" - Mary J. Blige (Capitol Records)

Outstanding Song – Contemporary

"HUMBLE." - Kendrick Lamar (TDE/Aftermath/Interscope) (WINNER)
"Gonna Be Alright" - Mali Music (RCA Records/ByStorm Entertainment)
"Insecure" - Jazmine Sullivan X Bryson Tiller (RCA Records)
"Love Galore" - SZA feat. Travis Scott (RCA Records/Top Dawg Entertainment)
"The Story of O.J." - Jay-Z (Roc Nation)

Outstanding Jazz Album

Petite Afrique - Somi (Sony Music/OKeh) (WINNER)
Boundless - Damien Escobar (Phoenix Lane Entertainment)
Dreams and Daggers - Cecile McLorin Salvant (Mack Avenue Records)
Poetry In Motion - Najee (Shanachie Entertainment)
So It Is - Preservation Hall Jazz Band (Legacy Recordings)

Outstanding Gospel/Christian Album (Traditional or Contemporary)

Greenleaf Soundtrack Volume 2 - Greenleaf Soundtrack (RCA Inspiration) (WINNER)
Close - Marvin Sapp (Verity Records)
Crossover Live From Music City - Travis Greene (RCA Inspiration)
Heart. Passion. Pursuit. - Tasha Cobbs Leonard (Motown Gospel)
Let Them Fall In Love - CeCe Winans (Puresprings Gospel)

Outstanding Literary Work – Fiction

The Annotated African American Folktales - Henry Louis Gates Jr. (Author), Maria Tatar (Author) (Liveright Publishing Corporation) (WINNER)
Little Fires Everywhere - Celeste Ng (Penguin Random House)
No One Is Coming to Save Us - Stephanie Powell Watts (HarperCollins Publishers)
Sing, Unburied, Sing - Jesmyn Ward (Simon and Schuster)
The Wide Circumference of Love - Marita Golden (Skyhorse Publishing, Inc.)

Outstanding Literary Work - Non-Fiction

Defining Moments in Black History: Reading Between the Lies - Dick Gregory (HarperCollins Publishers) (WINNER)
Black Detroit – A People’s History of Self-Determination - Herb Boyd (HarperCollins Publishers)
Chokehold: Policing Black Men - Paul Butler (The New Press)
The President's Kitchen Cabinet: The Story of the African Americans Who Have Fed Our First Families, from the Washingtons to the Obamas - Adrian Miller (University of North Carolina Press)
We Were Eight Years In Power: An American Tragedy - Ta-Nehisi Coates (Random House)

Outstanding Literary Work - Debut Author

No One Is Coming to Save Us - Stephanie Powell Watts (HarperCollins Publishers) (WINNER)
A Beautiful Ghetto - Devin Allen (Haymarket Books)
Chasing Spaces: An Astronaut’s Story of Grit, Grace & Second Chances - Leland Melvin (HarperCollins Publishers)
Rabbit: The Autobiography of Ms. Pat - Patricia Williams (Author) Jeannine Amber (With) (HarperCollins Publishers)
We're Going to Need More Wine - Gabrielle Union (HarperCollins Publishers)

Outstanding Literary Work - Biography/Autobiography

Becoming Ms. Burton - From Prison to Recovery to Leading the Fight for Incarcerated Women - Susan Burton (Author), Cari Lynn (Author), Michelle Alexander (Foreword By) (The New Press) (WINNER)
Ali: A Life - Jonathan Eig (Houghton Mifflin Harcourt)
Chester B. Himes - Lawrence P. Jackson (W. W. Norton & Company)
Obama: The Call of History - Peter Baker (New York Times/Callaway)
We're Going to Need More Wine - Gabrielle Union (HarperCollins Publishers)

Outstanding Literary Work – Instructional

The Awakened Woman: Remembering & Reigniting Our Sacred Dreams – Dr. Tererai Trent (Author), Oprah Winfrey (Foreword By) (Simon and Schuster) (WINNER)
Ballerina Body: Dancing and Eating Your Way to a Leaner, Stronger, and More Graceful You - Misty Copeland (Grand Central Publishing)
Exponential Living - Stop Spending 100% of Your Time on 10% of Who You Are - Sheri Riley (Author), Usher (Foreword By) (Penguin Random House)
Kristen Kish Cooking - Kristen Kish (Author), Meredith Erickson (With) (Clarkson Potter)
Notoriously Dapper - How to Be A Modern Gentleman with Manners, Style and Body Confidence - Kelvin Davis (Mango Media Inc.)

Outstanding Literary Work – Poetry

Incendiary Art: Poems - Patricia Smith (TriQuarterly Books/Northwestern University Press) (WINNER)
My Mother Was a Freedom Fighter - Aja Monet (Haymarket Books)
Silencer - Marcus Wicker (Houghton Mifflin Harcourt)
The Drowning Boy's Guide to Water - Cameron Barnett (Autumn House Press)
Wild Beauty: New and Selected Poems - Ntozake Shange (Simon and Schuster)

Outstanding Literary Work – Children

Little Leaders: Bold Women in Black History - Vashti Harrison (Hachette Book Group) (WINNER)
Becoming Kareem: Growing Up On and Off the Court - Kareem Abdul-Jabbar (Author), Raymond Obstfeld (With) (Hachette Book Group)
Before She Was Harriet - Lesa Cline-Ransome (Author), James E. Ransome (Illustrator) (Holiday House)
Take a Picture of Me, James VanDerZee! - Andrea J. Loney (Author), Keith Mallett (Illustrator) (Lee & Low Books)
The Youngest Marcher: The Story of Audrey Faye Hendricks, A Young Civil Rights Activist - Cynthia Levinson (Author), Vanessa Brantley-Newton (Illustrator) (S&S Children's Publishing)

Outstanding Literary Work - Youth/Teens

Clayton Byrd Goes Underground - Rita Williams-Garcia (Author), Frank Morrison (Illustrator (Amistad/HarperCollins Publishers) (WINNER)
Allegedly - Tiffany D. Jackson (HarperCollins Publishers)
Long Way Down - Jason Reynolds (S&S Children's Publishing)
Solo - Kwame Alexander (Author), Mary Rand Hess (With) (Blink)
The Hate U Give - Angie Thomas (HarperCollins Publishers)

The story was originally posted on The Hollywood Reporter.

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Dana Lixenberg

VIBE Vault: 'Dre Day: Andre Harrell' (December 1995 / January 1996)

In the business of music, there's no name with as much resonance as Motown. Former Uptown Entertainment president Andre Harrell—the man responsible for Jodeci, Mary J. Blige, and Heavy D—is taking over the legendary label and promising to bring the noise. But can he fight through the nostalgia and lead Motown into the 21st century? By Anthony DeCurtis. Photographs by Dana Lixenberg

"You know how Jeffrey Katzenberg became Disney? That's what I want to do. Like, how you felt Jeffrey had a passion about Disney—his Mickey Mouse watches, Disney sweatshirt, Disney tie. That's what I'm talking about. I will be at the Motown Cafe. I'll make Motown ties, watch­es, sweatshirts. I intend to make Motown the black Disney," Andre Harrell says with a smile. "You might as well start calling me Walt."

Harrell, 35, is obviously a man with a plan. Good thing, too. He's stepping into one of the most vis­ible jobs in the entertainment industry: president and CEO of Motown Records. "It's always been a dream of mine to head up Motown," he says.

Yet the lofty position confronts Harrell with a critical challenge. Motown has fallen far from what it once was. Aside from the monumental Boyz II Men, Motown has increasingly become a sound­track for nostalgia, much more redolent of the past than the present. It's so hard to say good-bye to yesterday, indeed. Harrell, a product of the hip hop generation, knows his job is to introduce Mo­town—music, television, film, video, animation, and new media—to tomorrow.

A Bronx native, he got his start in the early '8os as half of the rap duo Dr. Jekyll and Mr. Hyde. (He was Dr. Jekyll.) After moving over to the business side of the business, he hooked up with rap mogul Russell Simmons and soon landed a top spot at Simmons's company, Rush Communications, where he worked with the likes of Run-D.M.C., L.L. Cool J, and Whodini.

Harrell stepped out on his own in 1986, when he launched his own label, Uptown Entertain­ment, as part of a joint venture with MCA. At Uptown, Harrell defined a contemporary R&B sound for the hip hop age, bringing the world Guy, Heavy D, Jodeci, Mary J. Blige, Al B. Sure!, Father MC, and most recently, Soul for Real (with whom he had his first No. 1 pop hit, "Candy Rain"). He produced the 1991 film Strictly Business, and he coproduces the hit Fox series New York Undercover.

Successful as the artists on his label proved to be, Harrell has felt constrained in his efforts to make them pop superstars, both by his arrange­ment with Uptown's parent company, MCA, and by the troubling racial politics of the music busi­ness in general. Moving to Motown, which is now based in Los Angeles and owned by PolyGram, presents Harrell with the opportunity to put at least some of these issues behind him. At Motown, Harrell says, he'll have more people, more prerogative, more punch.

Seated on a couch in the living room of his Upper West Side New York apartment, dressed simply in a black shirt and white slacks, Harrell focused squarely through his blue shades on what must be done. A framed photo of a serious-looking Harrell arm-in-arm with Mickey Mouse sat on an end table.

Clearly a man who enjoys control, Harrell was soft-spoken and intent. He didn't want to be mis­understood. "Am I correct?" he would ask. "Do you follow me?" He leaned forward, and his voice rose with passion as he discussed his frustrations with MCA. Otherwise, he slipped back into the pil­lows of his sofa and spoke as if he was envisioning his future life in a dream.

Harrell knows he has as much on the line as Motown, if not more. All eyes will be on him. It's one thing to say you would've done something if only you'd gotten the chance. It's quite another to get the chance and have to do it.

"Every record has gotta be right," he said. "I'm trying to sign stars. I'm not gonna have wack-juice on me. Never did, never will."

What has Motown meant to you over the years? When was the first time you knew what it was?

The first true Motown experience I had was when the Jackson 5 were on the Ed Sullivan Show. I think it might've been, like, 1969, '70. They sang "Stand!" and "I Want You Back." I had never seen a black teenager on television—it was incredible. After that, I realized who the Motown artists were. My parents listened to them: the Supremes, Marvin Gaye, Diana Ross, the Four Tops, the Temptations.

What did the company represent for you?

Motown has always been the epitome of black excellence and artistry. Stevie sang about love in the most sensitive way, as well as telling about the plight of his people. Marvin sang about the plight of his people and his internal fight, but he sang about love in a very sexy way. They were major influences.

Speaking of Stevie Wonder, he made a strong album last year and nothing happened with it. Can Motown sell a Stevie Wonder record in this day and age?

The Four Tops, the Temps, and, especially, Stevie Wonder and Diana Ross—these are national trea­sures. You have to treat them like events. Stevie Wonder, he's someone I would do an Unplugged with. Or a couple of years ago, it was Stevie's 3oth anniversary in show business. You could have got­ten Stevie Wonder a television special. We could have had artists pay tribute to him—pop artists, rock artists, R&B artists, rap artists, everybody could have participated. And there's probably no other female, black or white, who's as fabulous as Diana Ross, who epitomizes the glamour and excitement of a star diva.

What about new directions? What makes Motown happen in the '9os?

Motown has to become the lifestyle label for the times that the active record-buying audience—the audience who's 15 to 3o—is living in. One of the ways you do this is by putting out records that are in the groove that that audience is living in. Like if Mary J. Blige was a Motown artist, Motown would have some of her imaging on it. It's that young, hip hop—soul, Generation X energy. Same thing if Jodeci was on the label. Back in the day, Motown talked to everybody in the ghetto—and it talked to the rest of the world too.


That sounds like the philosophy you espoused at Uptown.

The thing that [Motown founder] Berry Gordy led the way with is the idea that the label head becomes the image of the label. Myself, I allowed whatever celebri­ty occurred in my career to happen through the artists. I was so consistent with the kinds of artists who were on my label, after a while, it was, like, "Who's behind all this?" I was behind it.

Going into Motown, my plan is this: When you think of Motown now, you're gonna think of Andre Harrell. I'm not gonna work for Motown, I'm gonna be Motown—in the way I dress, the records I put out, the causes I choose to get involved in, the artists from the past, the artists who are there now, and the artists in the future. Like I lived Uptown Records, I'm gonna live Motown Records.

But you, Russell Simmons, Sean ."Puffy" Combs—and Berry Gordy before you—are entrepreneurs. You're identified with the companies you founded. With this, you're stepping into something—

—that's already existing. I'm gonna be Motown for this generation of young-adult record buyers. Motown was the blueprint. Berry Gordy was the blueprint for what I became.

Were you conflicted about leaving Uptown?

I had tremendous conflict. It was like I was walking away from my works of art. There will never be another Mary J. Blige—it's rare to find a queen. There will nev­er be another Jodeci. There'll never be another Heavy D. But I have to go, because Motown gives me the power I need to go to the next level. I have to make African-American superstars. At Uptown, I was able to make black icons, but they were icons only to black people.

[I was] trying to grow Uptown, to have indepen­dence, to be able to say, "This act is getting ready to be a worldwide star, and I'm gonna take all my resources, and we're gonna march to this one beat." I was trying to do that for nine years. Between me and the corpora­tion, I could never get it to happen.

In terms of support from MCA?

I think MCA, after a period, wanted some of these things to happen. For whatever reasons, though, the execution between the two sides never worked. The biggest record I ever had was Jodeci's [1991] Forever My Lady—3 million.

When [Arista president] Clive Davis got in the game, I felt myself shrinking. Once he got in business with LaFace [L.A. Reid and Kenneth "Babyface" Edmonds] and [Dallas Austin's] Rowdy Records and Puffy [Bad Boy Entertainment], Davis's commitment and his exe­cution were taking those artists where I wanted my artists to go. I wanted Mary J. Blige to sell the 7 million that Toni Braxton did.

Jodeci came to me because I had Al B. Sure! So they figured, "He knows how to do this. We wanna be down with him." They drove 13 hours, sat in my lobby for eight hours just to meet me. Now, I feel like, with Arista being involved with LaFace and the other labels, they sold 7 million Toni Braxtons. They sold 6 million TLCs. I'm, like, if I can't sell these kinds of records, I'm gonna slowly shrink. I was catching heat from my artists, who wanted that kind of stature. I would bring that frustra­tion to MCA, and we couldn't seem to come to terms.

Was the idea, "Well, Andre's doing fine. He's doing a cou­ple of million here, a couple of million there. He's covered. Were gonna invest somewhere else"?

I felt like a figurehead. I had all this energy around me—like, I was the Man. I was the founder and chairman of Uptown Records, a major, culturally influen­tial entertainment company for African-Americans in the '9os. But I didn't feel like the Man, because I could­n't put my finger on the button that would really make it happen. I don't want to be in that position anymore. I need to have more control. I need to be responsible for the big picture. And being at Motown positions me to create a truly black pop company. I got a film divi­sion, a television division. I got green-light power for small movies. I don't have to ask anybody.

What are your plans with Gordy?

We're gonna do a series of commercials—print and television. He endorses me. We spoke yesterday for about an hour, and he said, "Any advice I can give you about where we go from here, feel free to call me." We're gonna spend time together and talk about his history with the elder stars. I feel as if I've had a tremendous amount of experience working with stars' drama and ego, but we're talking a whole 'nother level of stars. I've never built a superstar. There're superstars at this house.

How do you build superstars?

If black stars are gonna have a shot at becoming pop stars, it's gonna be because the chairman of the company is committed to them—and because their music is his personal taste. That's what I'm bringing to black music, to black musical stars. Not just their art form but their plight as African-American men and women.

What you're describing is a role that black executives play, but aren't they often frustrated in their attempts to rise at most record companies? 

I can't talk about it enough, how few black execu­tives get to control their playing field. Black music is becoming the music of the popular culture. Because of that, companies are repositioning their priorities and trying to get in the game. But as black music becomes more important, there should be more black presidents and black chairmen. As soon as the black executive's artist reaches platinum, suddenly the artist and man­ager have to deal with the president of the corporation, because he controls the priorities at pop radio. The black executive becomes obsolete. As his music gets bigger his power diminishes. He's more or less told, "Go find the next act and establish it."

It's an emphasis on the creative—

—as opposed to the business. That's why young black executives don't get to become the old chairmen—the wise men who've seen it and done it. They get to stay hot black executives so long as their instincts are hot. But this is a lifestyle business—only a few of us, black or white, are going to be cool enough to have great in­stincts our whole career.

The black executive is not given the opportunity to become the business and the music. Why not? Why shouldn't he be the one that everybody reports to? When you get an act that sells 5 million—at a major compa­ny—the black executive's out of the room. But when there's some sort of problem, the major label looks at the black executive: "Why can't you handle this act?" When the artist hires a violent manager and the violent manager is coming up to the record company, the label's, like, "How did it get to this?" How? Because they [the white executives] couldn't see it coming. Because they re not sensitive to his issues. By then the relation­ship between the record company and the artist is dys­functional. And then the black executive gets blamed and fired. But they created the monster.

When I had the artist, I talked to his mother, his girl­friend, his babies' mother with the two children, dealt with his drug counselor, and whatever other dysfunc­tional Generation X problems he has. He'd call me late at night.

But he feels like they're just businesspeople. And they don't understand. And they might be racist. He's comin' with all that energy. Even if they like him as a person, he still has goo years of issues he has to get over to accept them. And they have a lot of work to do to gain his trust and respect.

So what are your immediate plans?

I will be moving to Beverly Hills. I'll have a house out there for a 12-to-18-month period, and I'll be bicoastal between the New York and L.A. offices. Then I'm moving the company to New York. I'm going to have a satellite office in Atlanta—A&R-oriented. I'm going to build a recording studio in New York, Motown Studios.

Any new musical directions?

The sound I'm going for now is soul. I'm looking for voices that sound like 400 years of slavery and then some. I'm looking for that inspirational, take-us-out­-of-our-plight, Aretha Franklin, Bill Withers, Al Green voice. I'm looking to build those kinds of stars now.

What about the younger acts on Motown? Have you met with Boyz II Men?

No. Those meetings will come after I execute the deal. Boyz II Men are the biggest group I've ever seen. I don't know what I'm bringing to the party except to keep them from goin' crazy from the level of success they've had. They probably need a break, a little time out to lead their personal lives. Outside of that, that for­mula is working. Queen Latifah, I'd like to bring her record sales up to match her celebrity. Zhané I'd like to give a little bit more image. I'm gonna bring Johnny Gill back—he had a fabulous first album. And I'm excit­ed about working with Michael Bivins. He's tremen­dously talented, and if he and I get together, we can real­ly do some important things.

Are you apprehensive?

I got a lot of work to do. But no problems. Making hits is not a problem. I'll be making some noise real quick. And I ain't gonna stop makin' noise until I'm done.


This article originally appeared in the Dec. 1995 - Jan. 1996 issue of VIBE Magazine | Written by Anthony DeCurtis | Header Photography by Dana Lixenberg

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DJ Khaled attends the 62nd Annual GRAMMY Awards at STAPLES Center on January 26, 2020 in Los Angeles, California.
Frazer Harrison/Getty Images for The Recording Academy

DJ Khaled Cuts Off Twerker On Instagram Live, Inspires "Talk To Me Normal" Remix

Like the saying goes: when you give an inch, they take a mile. DJ Khaled learned that lesson over the weekend after he had to cut off a twerking follower on his Instagram Live session.

The producer and recording artist hopped on his social media account on Sunday (May 3) to chat with his fans and followers. To make the moment more engaging and interactive, Khaled opened up his request lines for one-on-one chats and chose a couple of lucky followers. What he didn't realize was that one request would be from a woman ready to twerk on camera, Quarantine Radio style.

"Oh, sh*t, oh, sh*t," he said aloud with his hands up in the air once he realized what was about to go down. "No, no, don't do that. No, it's all love but you know what I'm saying? I've got a family and everything. I've got love," he stressed to the giggling blonde before she proceeded to pour water on her derrière.


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I have love for everyone please take it easy when I’m on fan luv ig luv . Again I have love for everyone please lets be respectful nothing but love BLESS UP !

A post shared by DJ KHALED (@djkhaled) on May 3, 2020 at 4:25pm PDT

"Just talk to me normal, talk to me normal," he requested as he covered his eyes from seeing what she was doing. But did she care to oblige? Nope, because 45 seconds of fame and "we live baby!" Khaled gave up on pleading and closed out the chat repeating, "I can't, I can't."

Shortly after, Khaled posted the incident on his Instagram account with the caption, "I have love for everyone please take it easy when I’m on fan luv ig luv. Again I have love for everyone please lets be respectful nothing but love BLESS UP!"

And like clockwork, the video made its rounds and inspired one producer to create a remix, because, that's what we do when we need another level of comic relief. Much like Brooklyn's own DJ iMarkkeyz, who gained momentum on Billboard's charts for his remix of Cardi B's coronavirus rant, producer DJ Suede posted a remix of the moment and it brought more laughs to probably one of DJ Khaled's most stressful moments.

Hear it down below. You're welcome.


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#IGotAFamily #IGotLove 🕺🏾💎#RemixgodSuede #AnotherOne @therealcocoabrown #Diamonds @sophiajamesxo

A post shared by Dj Suede (@remixgodsuede) on May 3, 2020 at 9:48pm PDT

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Matt Winkelmeyer/Getty Images

Will Smith Hosts Virtual Reunion With ‘Fresh Prince Of Bel-Air’ Cast

Ahead of the official 30-year anniversary of The Fresh Prince of Bel-Air’s debut, Will Smith hosted a virtual reunion with his cast members for the latest episode of his Snapchat show, Will From Home. Tatyana Ali, Alfonso Ribiero, Karyn Parsons, Joseph Marcell, DJ Jazzy Jeff, and Daphne Maxwell Reid reunited with Smith via the video conferencing app, Zoom.

“Reunited and it feels so good,” Smith wrote on Instagram on Wednesday (April 29). “It’s been 30 years since the first season of ‘The Fresh Prince of Bel-Air’ so I thought we should have ourselves a lil Zoom reunion!! Check us out.”

Smith posted a snippet from the Zoom reunion that showcases the special bond between the Fresh Prince cast. The crew also sent well wishes to Jeff, who recently recovered from coronavirus.

“Jeff you had us all scared,” says Ribiero.

“Not as scared as I was,” Jeff responds. “It was a little rough but I’m definitely happy to be on the other side.”

Marcell, who played the family butler “Geoffrey” on the series, appears to be enjoying life under quarantine. “There’s something amazing about house arrest,” he quips.

“This is probably not your first time [on house arrest],” Smith jokingly replies.

Loosely based on the life of show producer Benny Medina, The Fresh Prince of Bel-Air premiered on September 10, 1990. The sitcom aired for six seasons before ending its run in May 1996.

Watch a clip from the reunion below.


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Reunited and it feels so… AHHHHHH! It’s been 30 years since the first season of The Fresh Prince of Bel-Air so I thought we should have ourselves a lil Zoom reunion!! Check us out, link in bio. #WillFromHome

A post shared by Will Smith (@willsmith) on Apr 29, 2020 at 10:50am PDT

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