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Oscar Spotlight Draws Attention to Industry Diversity Issue

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In this March 2, 2014 file photo, Lupita Nyong’o accepts the award for best actress in a supporting role for "12 Years a Slave" during the Oscars in Los Angeles. Nyong’o dazzled Hollywood and the Oscar-viewing public through awards season last year. The Mexican-born, Kenyan-raised actress was a central part last year to an Academy Awards flush with faces uncommon to the Oscar podium. There was Ellen DeGeneres, a proud lesbian, hosting. There was the first Latino, Alfonso Cuaron, winning best director. There was the black filmmaker Steve McQueen hopping for joy after his “12 Years a Slave” won best picture. (Photo by John Shearer/Invision/AP, File)

In this March 2, 2014 file photo, Lupita Nyong’’o accepts the award for best actress in a supporting role for “12 Years a Slave” during the Oscars in Los Angeles.  (John Shearer/Invision/AP, File)

JAKE COYLE, AP Film Writer

NEW YORK (AP) — It was a year ago that Lupita Nyong’o, shortly before winning the Academy Award for best supporting actress in “12 Years a Slave,” gave a speech about what she called “dark beauty.”

Nyong’o, who so dazzled Hollywood and the Oscar-viewing public through awards season, spoke tenderly of receiving a letter from a girl who had been about to lighten her skin before Nyong’o’s success, she said, “saved me.” The letter struck Nyong’o because she recognized herself in that girl: “I remember a time when I too felt unbeautiful. I put on the TV and only saw pale skin.”

The Mexican-born, Kenyan-raised actress was a central part last year to an Academy Awards flush with faces uncommon to the Oscar podium.

What a difference a year makes.

This year’s Oscars repeat a stubborn pattern that has plagued the Academy Awards throughout its history: Whenever change seems to come, a frustrating hangover follows. “Every 10 years, we have the same conversation,” Spike Lee, a regular witness to the sporadic progress, has said.

Seldom have such fits and starts been starker than this Oscars, coming a year after a richly diverse Oscar crop. In Sunday’s Academy Awards, all 20 acting nominees are white, a result that prompted some to declare that they would boycott this year’s ceremony.

The lack of nominations for “Selma” director Ava DuVernay and star David Oyelowo were a particular flashpoint, viewed by many as unjust oversights not only because they merited honoring, but because their absences furthered an ignoble Oscar history.

“I was surprised but then I wasn’t,” said Darnell Hunt, a UCLA professor and director of the Ralph J. Bunche Center for African American Studies, who co-authored a 2014 diversity report on the film and TV industries. “What we saw in terms of the nominations this year was business as usual. What we got was more or less an accurate reflection of the way the industry is structured and the way the academy is populated.”

An Associated Press survey of the academy’s voting history since the first Academy Awards in 1929 shows gradual progress but not nearly at a rate to match the ever-increasing diversity of the American public. In those 87 years, 15 black actors have won Oscars, four Latinos and three Asians, a record that doesn’t even speak to other categories like best director, where only one woman (Kathryn Bigelow) has won.

The number of non-whites to be nominated for best actor or best actress has nearly doubled in just the last two decades, but the 9.4 percent of non-white acting nominees over the academy’s history is about four times less than the percentage of the non-white population.

Not all of this can be laid at the film academy’s feet, but some of it can. The 6,000-plus membership of the Academy of Motion Pictures Arts and Sciences was found to be 94 percent white and 77 percent male in a 2012 Los Angeles Times investigation.

Since becoming president of the academy, Cheryl Boone Isaacs has worked to diversify the organization’s ranks, though change comes slowly considering membership is for life.

But the academy is a reflection of the film industry; it can only reward the films that get made. What this year’s all-white acting nominees did was lay bare the enormous, hulking iceberg of the movie business’ diversity problems.

The UCLA diversity report released last year after eight years of research put found underrepresentation of minorities and women throughout film and TV, from board rooms to talent agencies.

“White males have dominated things for so long that it’s been hard to image an alternative that would produce or be open to producing the types of projects that are likely to enlist more people of color or women. So it becomes a self-fulfilling prophecy, this vicious cycle that produces the same type of stuff over and over again,” says Hunt.

What’s particularly galling for many of those working to change Hollywood is that minorities are among its most passionate customers.

“They acknowledge the demographic. They understand our participation rate. They continue to market these projects to the community, but never with the community’s identity or building a base of A-lister talent,” says Felix Sanchez, president of the National Hispanic Foundation for the Arts.

Hunt hopes that by studying diversity objectively, the data will reveal “the bottlenecks” that are stifling advancement. That includes findings that show more diverse projects make more money at the box office and earn better TV ratings. He knows the one thing Hollywood will respond to: the bottom line.

But frustration is mounting. Another year’s worth of research, to be released later this month by UCLA, shows no significant change, says Hunt.

Stacy L. Smith, founder and director of USC Annenberg’s Media, Diversity and Social Change Initiative, calls the lack of progress in the industry “egregious.”

“Hollywood does not think diversity is commercial,” Smith said. “The numbers speak loudly and clearly about who is valued and who isn’t.”

With studies finding so little progress, Smith proposes the industry adopt a modified version of the NFL’s Rooney Rule, which stipulates that teams must interview minorities for vacant coaching jobs.

Not everyone agrees. “Enforced ‘diversity’ will undermine the very mission of (the academy),” wrote Lionel Chetwynd, an Oscar-nominated writer and an academy member. “As new filmmakers and craftspeople achieve new levels of excellence, the face of the academy will change as it should, to the meter of its time, the pace of its art.”

Why does all this matter? It isn’t just an issue of equal opportunity, though it is that. It’s because when people aren’t reflected in culture, when they don’t see themselves on screens, behind cameras or on the Oscar stage, they feel invisible and voiceless. Hollywood would do well to remember that young girl who wrote to Nyong’o, and hope to inspire a flood of such letters.

___

AP researcher Jennifer Farrar contributed to this report.

___

Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Business

From Historic Memories to New Possibilities: Oakland Celebrates Coliseum 60

More than 75 people gathered at Youth UpRising in East Oakland on Friday, September 18, for Coliseum 60, an event marking six decades of sports, entertainment, employment, and community memories at the Oakland-Alameda County Coliseum Complex. Held 60 years to the day after the Coliseum first opened, the celebration featured cultural performances and a mini-documentary highlighting its history. Speakers reflected on the venue’s significant role in the community and its future possibilities. Read more to learn about the individuals and stories honored during this special event.

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Quixote Atkins of VillageGIVE moderates a panel discussion at the Coliseum 60 celebration at Youth UpRising featuring Keith Brown, a member of IATSE Local 107; author, historian and former Black Panther Party member Tareka Lewis; and African American Sports and Entertainment Group President Ray Bobbitt.

More than 75 people gathered at Youth UpRising in East Oakland on Friday, Sept. 18, for Coliseum 60, a celebration honoring six decades of sports, entertainment, employment and community memories connected to the Oakland-Alameda County Coliseum Complex.

Held 60 years to the day after the Coliseum opened, the event carried the theme, “One Community. One Legacy. One Future. Forward Together.”

The celebration opened with the national anthem performed by sisters Anese Jade, Amina Benjamin and Zaza Benjamin. Diamano Coura West African Dance Company contributed African dance and drumming, bringing movement, rhythm and cultural expression to the program.

A mini documentary highlighted the Coliseum’s sports history and its broader role as an entertainment destination. Archival material recalled performances by Prince and Tina Turner, along with memorable games featuring the Warriors, Oakland A’s and Raiders.

“The Coliseum 60 is about much more than celebrating a building or looking back at 60 years of history,” said event organizer Quixote Atkins of VillageGIVE.

“It’s about the people who made that history possible: the families, workers, athletes, artists, community leaders, fans and generations who gathered there and created memories together.”

A panel exploring that history featured author, historian and former Black Panther Party member Tareka Lewis; stagehand and union representative Keith Brown; and Ray Bobbitt, president of the African American Sports and Entertainment Group AASEG. Lewis described her family as fourth-generation Bay Area pioneers.

“My family and Black families who arrived even earlier helped build the Bay Area, grew businesses and established culture here,” Lewis said. “This should be taught in the public schools.”

Lewis recalled Oakland’s influence on sports, music and literature, from the Raiders’ beginnings at Laney College to stars such as The Pointer Sisters and Rickey Henderson who attended Oakland public schools. She also advocated for school museums, historical timelines, entrepreneurship training and investments benefiting corridors such as Bancroft Avenue and High Street.

Keith Brown, a member of Local 107 of the International Alliance of Theater and Stage Employees (IATSE) who began working at the Coliseum in 2011, remembered the Ringling Bros. and Barnum & Bailey Circus, the Ice Capades, baseball bat giveaways and Nelson Mandela’s 1990 appearance.

“The special events are amazing, but it’s the workers that make the memories real for everyone,” Brown said. “They make the magic happen at the Coliseum.”

The program recognized longtime workers, including beer-stand manager Robert Preston, who served for 40 years, and Kenyatta Gentry, who worked as a vendor for 24 years and used her earnings to purchase her first apartment. Union workers Jose Gonzales and Carmen Sandoval were also honored. Speakers emphasized that Coliseum employment provided generations of residents with union wages and benefits.

Dr. Denise Saddler, the superintendent of the Oakland Unified School District (OUSD) was also honored. Saddler shared her family’s history of working at the Coliseum. 

District 7 Oakland City Councilmember Ken Houston discussed the complex ownership arrangements involving the city, county and private interests.

“This was the most complex deal of its kind in the country,” Houston said.

Prior to moving from the East Coast, Alameda County Supervisor and Coliseum Joint Powers Authority Chair Nate Miley recalled learning about Oakland through its three professional sports teams. As an elected official and public servant, Miley fought hard to keep the Golden State Warriors, Oakland As, and the Raiders, but he is hopeful for the future.

“The story is not over for the Coliseum,” Miley said. “We’re entering a new chapter.”

Bobbitt said the departure of three teams had once seemed unimaginable, but he maintained that Oakland’s future remains bright.

“Oakland is a cultural superpower worldwide,” Bobbitt said. “We’re going to write the future where we participate and drive the redevelopment.”

Bobbitt highlighted AASEG’s four-year partnership with Castlemont High School’s architecture program, which engages students in reimagining and creating redevelopment concepts for the Coliseum property. “The youth will always move us forward. They are the future.”

In closing, Atkins said, “September 18 is the celebration, but what we build together afterward is the legacy.”

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Oakland Post: Week of September 23 – 29, 2026

The printed Weekly Edition of the Oakland Post: Week of September 23 – 29, 2026

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BOOK REVIEW: ‘Laws of Solomon’ Reveals Tender Heart of Former Child Soldier

The monsters that came to him early in his sleep were the easy ones. It was the later demons that stole Solomon Nangobi’s sleep, the spirits of all the people he killed when he was a child soldier in Uganda, and when he was a fixer in New York as an adult. Their ghosts called to him with urgent voices, though he left that life behind long ago.

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Book cover of “Laws of Solomon.” Courtesy of Poisoned Pen Press

Author: Eriq La Salle, Copyright: c.2026, Publisher: Poisoned Pen Press, SRP: $18.99, Page Count: 304 pages

Finally, after so much work, you’ve left your past behind.

That’s what you tell yourself: what’s done is done and you can’t undo history. It’s over. You try not to think about last month, last year, a decade back because what does it matter? As in the new novel, “Laws of Solomon” by Eriq La Salle, remembering is too full of pain.

The monsters that came to him early in his sleep were the easy ones. It was the later demons that stole Solomon Nangobi’s sleep, the spirits of all the people he killed when he was a child soldier in Uganda, and when he was a fixer in New York as an adult. Their ghosts called to him with urgent voices, though he left that life behind long ago.

Now, his days were filled working the soil in gardens near Malibu, and he loved the quiet life.

Still, he kept his guns.

And he was glad: when Solomon recognized two Zeta gunmen stalking a well-dressed man, woman, and child through the gardens, he couldn’t walk away. He stopped the gangsters with bullets, but not before the adults and their bodyguards were dead. The child, an 8-year-old boy named Gaby, was safe, but Gaby couldn’t tell Solomon what was going on.

What became quickly certain, however, was that Solomon was now Gaby’s guardian, and the Zeta crime boss wanted them dead, too.

When he was the same age as Gaby, Solomon saw unspeakable things, the murder of his parents, the destruction of his homeland, and the atrocities that Uganda dictator Idi Amin’s soldiers committed. He learned to kill, he observed, and he was hardened, understanding as a small boy that revenge was often necessary and needed, and that blood would shed at those times.

But Gaby was pure, an innocent, a child.

Solomon reached out to his contacts to try to get the boy to safety, but being a contact of a marked man was likewise a dangerous thing: the monsters outside were worse than the ones inside him.

Two words for you: ‘Whoo weee.’ That’s what you’re going to say when you close the back cover of “Laws of Solomon,” knowing that you’ve just been taken on a wild up-and-down, around-and-round ride.

La Salle makes it impossible not to like Solomon, an African man who has, over time, lost nearly everything dear to him and who has no faith in much of anything. Readers get that part of the story eventually, and there’s historical authenticity in some of it, but we never really get to know Solomon, which makes the book feel dark and dangerous. Along the way, we meet and get to know his helpers, which buoys Solomon’s chase to find safety for the boy, and your heart won’t stop pounding.

Keep in mind that this is a thriller partially set in 1970s Uganda, so expect lots of violence but don’t expect a lot of people to live. If you’re up for that, find “Laws of Solomon.” You won’t be able to leave it behind.

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