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Ma Rainey s Black Bottom makes Oscars history with makeup and hairstyling win

Ma Rainey s Black Bottom makes Oscars history with makeup and hairstyling win By Mekishana Pierre‍ CBSN The stylists of   Ma Rainey s Black Bottom made history at the 93rd Annual Academy Awards on Sunday. Makeup artist Sergio Lopez-Rivera, hair department head Mia Neal, and Viola Davis personal hairstylist, Jamika Wilson, took home the statue for Best Makeup and Hairstyling, with the latter pairing becoming the first-ever Black stylists to win in the category. Neal took the lead for the acceptance speech, thanking the Academy, Netflix, Davis, and the spirit of Ma Rainey. I want to thank our ancestors who put the work in and were denied, but never gave up, Neal said, recalling the struggles of her grandfather, James Holland. An original Tuskegee airman, he graduated from Northwestern University when they didn t allow Black students to stay on campus and struggled to find work as a teacher in an education system that didn t welcome Black teachers.

Viola Davis honored with AAFCA Icon Award

Viola Davis honored with AAFCA Icon Award
1019thekeg.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from 1019thekeg.com Daily Mail and Mail on Sunday newspapers.

SAG Awards: What to Make of Trial, Viola Davis and Youn Yuh-jung Wins

SAG Awards: What to Make of Trial, Viola Davis and Youn Yuh-jung Wins
hollywoodreporter.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from hollywoodreporter.com Daily Mail and Mail on Sunday newspapers.

Critic s Notebook: How This Year s Awards Contenders Embrace Complexity and Demolish That Sexist Likability Factor

David Lee/Netflix; Courtesy of Neon; Courtesy of Fox Searchlight; Courtesy of Netflix Left: Viola Davis in Ma Rainey’s Black Bottom, Kate Winslet in Ammonite, Frances McDormand in Nomadland and Radha Blank in The Forty-Year-Old Version. This season’s crop of blunt, commanding and steely female protagonists seen in Ammonite, The Forty-Year-Old Version, Nomadland, Pieces of a Woman and Promising Young Woman provide strength in numbers. I can’t live in this room.” Frances McDormand’s van-dwelling character utters these unequivocal words during a crucial exchange in Nomadland, one that unfolds in the guest room of a suburban house. A strikingly similar rejection of a well-meaning offer of shelter, of security takes place near the end of

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