Bounce has set an April 23 date for its annual Trumpet Awards ceremony, and will air the festivities on June 19.

The Awards show, which celebrates African-American excellence, was rescheduled to April from January because of COVID-19 concerns, said network officials. Bounce will air a taped version of the event on Juneteenth. 

“It’s fitting that that we will honor Black excellence and achievement on a day that is a commemoration of such a significant moment in our history as African Americans,” said Bounce head Cheryle Harrison in a statement. “We appreciate everyone’s patience in our having to adjust this year’s schedule. Health and safety are a priority for our guests, honorees and staff.”

The 2022 Trumpet Awards will honor actor Courtney B. Vance, producer Stan Lathan, Scripps National Spelling Bee winner Zaila Avant-garde, politicians Raphael Warnock and Jon Ossoff, and philanthropist Princess Sarah Culberson. ■ 

Cable networks’ original holiday movies will deliver the gift of diversity, with many of this year’s offerings featuring actors of color in lead roles.

From OWN’s first-ever original movie, One Fine Christmas, to Lifetime’s A Sweet Christmas Romance to UP TV’s Snowbound for Christmas, these movies will aim for viewers who are underserved by the popular seasonal genre.

“There’s a formula to holiday films: You have a nice-looking couple, they end up falling in love, there’s a happy ending, fa la la la la,” Marc Berman, editor of TV industry website Programming Insider, said. “What’s always been missing from that formula are people of color — there has been an enormous lack of diverse holiday programming.”

As cable networks ramp up the number of original holiday films — nearly 90 will debut between the last week of October and the end of December — network executives said they’ve made a more concerted effort to diversify the characters and storylines.

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With African-Americans in particular watching more than 50 hours of live and time-shifted television per week during the first quarter, per Nielsen, holiday-themed scripted programs — which touch on traditions of family, food and gifts — will play well with diverse audiences, TV One senior vice president of original programming and production Brigitte McCray said.

“Black audiences are not monolithic and storytelling for this audience should be as diverse as they are, including holiday programming,” McCray said. TV One in December will air Dear Santa, I Need a Date, starring Ray J, Reagan Gomez-Preston and Anna-Marie Johnson.

“African-Americans and people of color love all types of genres and it’s no surprise that feel-good content is appealing during the holiday season,” McCray added.

BET and BET Her will simulcast four Christmas- themed movies across four straight Saturdays beginning Nov. 30: Christmas Belles, Hip Hop Holiday, ’Twas the Chaos Before Christmas and Holiday Heist.

“At BET, we know that binging on holiday movies can be comfort food for the soul, and our audience is no exception to this viewing phenomenon, so we’re proud to present our new original holiday programming to bring that holiday cheer to our audience,” said Maureen Guthman, BET senior vice president, content strategy.

OWN, which targets African-American women, will jump into the original movies arena for the first time with three holiday-themed movies debuting in November: One Fine Christmas starring Rick Fox and Vanessa Williams; Carole’s Christmas, featuring Jackée Harry and Kimberly Elise; and Baking Christmas, starring Tim Reid.

“We’ve created scripted programming that’s relatable and reflective of the lives of our African-American female audience, and we feel that it’s a natural extension for us to go into the holiday movies space,” OWN president Tina Perry said. “We will be telling the same stories that are relatable, that reflect her life and experiences at that time of the year.”

Networks targeting more general audiences are also diversifying their holiday fare. Nearly half of Lifetime’s 28 planned movies will star people of color, including Tatyana Ali (The Christmas Hotel), Kim Fields (You Light Up My Christmas), Kelly Rowland (Merry Liddle Christmas), Loretta Devine (A Sweet Christmas Romance) and Keshia Knight Pulliam (Radio Christmas).

Hallmark Channel will offer four holiday films with lead actors of color, including the Tamera Mowry-Housley starrer A Christmas Miracle, Crown Media Family Networks CEO Bill Abbott said.

African-American consumers continue to lead the consumption of content across multiple platforms, according to a recent Nielsen 2019 Diverse Intelligence Series (DIS) report on African Americans.

Nielsen’s It’s In The Bag: Black Consumers’ Path to Purchase report states that African-Americans continue to be voracious consumers of television content, spending more than 50 hours watching live and time-shifted television a week in first quarter 2019, over 10 hours more than the total population, according to the research company.

“It doesn’t matter how many other streaming services we have access to, traditional television viewing is still number one with the African-American population,” said Cheryl Grace, senior vice president of U.S. strategic community alliances and consumer engagement for Nielsen. “What that looks like is 91% of every African-American can be reached weekly via television primarily through what we’re watching in real time and what we save on our recording devices.”

The tv shows African-Americans are watching don't always match that of the general population as black viewers gravitate more towards content that reflect their images and storylines -- particularly among younger viewers. Among adults 18-34, only Fox’s 911 and Empire show up among the top 20 most watched shows for both the African-Americans and the total population. VH1’s Love & Hip Hop franchise, Black Inc. Crew and Fox’s  cancelled Star are among the top 10 most-watched shows in young, African-American households that are not ranked on the top 20 most-watched TV show list for the total population.

Despite  heavy usage of traditional media, African-American consumers are on the cutting edge of new content distribution platforms and devices. Overall, 61% of African Americans are fascinated by new technology and 37% are more likely than the total population to be the first among their peers to try new technology products, according to Nielsen.

That includes a whopping 96% of all African-American adults having and using a smartphone, compared to 95% of the total population, according to Nielsen. Further, African-Americans 35 and older surpass all consumers in their age group by 2% for smartphone ownership.

Not surprisingly, African-Americans spend more time consuming video on their android phones and iPhones compared to the total population. Nielsen reports that Blacks spend nearly 30 hours a week on websites and apps on their smartphones, more than three hours more than the all consumers as a whole.

Youtube is the most consumed entertainment app for African-Americans at 79%, while Netflix has the highest market share among subscription video on demand apps with 39%, according to Nielsen. Hulu is second with 15%, followed closely by Amazon Prime Video at 14%.

On the social media front, Facebook is the top choice for African-American adults, with more than 65% of black adults using the service, according to Nielsen. Grace added that African-Americans overindex in the use of other social media services such as Instagram, SnapChat, Pinetrest and Twitter compared to the total population.

Yet despite African American consumers’ high consumption of traditional and new media -- as well as an estimated annual buying power of $1.3 trillion dollars -- Grace said companies are not increasing ad dollars targeting black consumers. She added that about $18 billion was spent on African-American-focused media in 2018, an overall decline of 5% from the prior year, with declines in such platforms as cable television (down 1%), digital media (-12%), network TV (-13%) and syndicated TV (-11%)

“Unfortunately despite how much we watch television and look at our digital devices, it doesn’t add up to the [ad] spend that we’re seeing,” she said. “We’re watching more, and yet [advertisers] are spending less to reach us. This is a problem.” 

African-Americans -- already voracious consumers of video content -- also over index in their use of apps on their smartphones, according to a new Nielsen Media Pulse report.

African-Americans, Hispanics and Asian American adults spend more than 2 hours and 20 minutes per day using apps or accessing the web on their smartphones, above the 2 hours and 19 minutes generated by the total U.S. population, according to Nielsen. African-Americans however, are driving the trend, averaging 2 hours and 47 minutes on smartphones -- more than any other individual group, said Nielsen.

The high use smartphones by African-Americans to access apps and the web isn’t surprising given the group’s overall consumption of media across all platforms. 

African-Americans dwarf all other groups in per day usage across all media -- including live TV viewing, radio listening, and use of TV connected devices and smartphones -- averaging nearly 12 hours and 50 minutes of media consumption. That’s 23% more time than the average adult, according to Nielsen’s most recent Total Audience report for second quarter 2018.

Further, African-Americans spend more than seven and a half hours per day viewing video across all platforms, two hours more than the average viewer, reported Nielsen.

In other Nielsen’s Media Pulse report findings, Asian-Americans are more proficient when it comes to tablet use. The group spends at least 45 minutes per day using a tablet, outpacing all other groups as well as the total U.S. population.

Also, adult women spend 6% more time using handheld platforms for apps and accessing the web than men, according to the Nielsen report.

RELATED: How 'Peak TV' is giving African-Americans more opportunities to be seen and heard on both sides of the camera

Scripted shows with predominately African-American casts are appealing to a wide range of viewers, according to a new Nielsen study.

Shows like ABC’s Black-ish, HBO’s Insecure and FX’s Atlanta and are all averaging more than 50% non-black viewership, according to Nielsen’s The 2016 Diverse Intelligence Series Report. Nearly 80% of comedy series Black-ish'saudience are viewers that are not African-American, while 61% of the Issa Rae-created comedy series Insecure’s audience represents non-black audienes, according to Nielsen.

Shows with ensemble casts also perform extremely well across audience groups including NBC’s freshman hit This Is Us, for which 89% of its audience is non-black, according to Nielsen. The series stars African-American actor Sterling K. Brown, who this past September won an Emmy Award for his portrayal of prosecutor Christopher Darden in FX’s The People V. O.J. Simpson.

“Much of the American narrative lately has focused on a growing cultural divide. But Nielsen’s data on television programming show something different,” says Andrew McCaskill, Nielsen's Senior Vice President, Communications and Multicultural Marketing in a statement. “Storylines with a strong black character or identity are crossing cultural boundaries to grab diverse audiences and start conversations. That insight is important for culture and content creators, as well as manufacturers and retailers looking to create engaging, high-impact advertising campaigns.”

Multicultural-themed programming is riding a wave of ratings and critical success on TV, but that rising tide isn’t lifting all boats.

From Emmy Award-winning shows like Netflix’s Orange Is the New Black and its multicultural cast, to ratings hits like Fox’s Empire, Starz’s Power and ABC’s Fresh Off the Boat and Black-ish, ethnically diverse TV content is hot. But even in such a TV climate, executives at independently owned multicultural networks said their services still struggle to gain widespread distribution.

Even with a growing base of multicultural subscribers who watch more hours of television than white viewers — along with an increase of young, multicultural millennials who are either cord-cutters or cable-nevers — distributors aren’t rushing to sign up networks that target the industry’s current and future subscribers, executives said.

“Overall, 40% of the population is multicultural, so what all that means is multicultural is now the new mainstream,” said Tonia O’Connor, chief commercial officer and president of content distribution for Univision Communications, which also handles distribution duties for four-year-old, male-targeted El Rey Network and young, Hispanic audience-targeted news service Fusion.

“It’s good business to be in this business,” O’Connor said. “Whether distributors have come to embrace it yet or not, they absolutely have to in order to continue to have any growth in the future — they can no longer ignore the multicultural consumer or opportunity.”

A HOT CATEGORY

While most television observers recognize today’s lineup of quality content from cable, broadcast and over-the-top digital services like Netflix as a new Golden Age of Television, it’s also arguably the most prolific time for multicultural programming.

This comes as the U.S. grows more diverse, and as diverse groups grow more influential determining in how and when entertainment content is delivered.

African-Americans watched more than 44 hours of live and time-shifted TV a week during fourth-quarter 2015, well above the 31-hour average for all adults, according to the recent Nielsen Total Audience Report. Hispanics nearly double all viewers in minutes spent watching video on smartphones, while Asian-Americans use multimedia devices to view television nearly a full hour more than the general public does.

Given those realities, the assumption would be that multichannel-video providers would be aggressive in launching networks aimed at the growing, highly influential multicultural audience. But network executives said some distributors have yet to recognize the value of multicultural content.

Most high-profile shows with appeal to multicultural audiences air on mainstream networks backed by major media companies, Africa Channel executive vice president of content and global operations Narendra Reddy said, adding that independently-owned multicultural channels don’t have the budget or staff to develop and market such programming. But that doesn’t mean Africa Channel’s scripted movies and reality shows originating from the continent are any less valuable or appealing to multicultural viewers, Reddy said.

He added that most favored nations language in contracts, restrictions on social-media marketing and promotion of content on the Web, and a lack of negotiating power during contract talks have hampered Africa Channel’s ability to gain distribution as an independent network.

“Even if the heads of programming for these various distributors believe that this content that we have will resonate with audiences, basically they’re forced to carry networks from the companies that have far greater leverage than we do,” Reddy said.

That doesn’t sit well with multicultural viewers who respond favorably to content targeted toward them. According to a recent Horowitz Race, Diversity and Media survey, 64% of multicultural millennials said they found television shows featuring a mainly multicultural cast appealing, compared to 44% of white viewers.

Yet beyond a few select shows, network executives say such images are rare on the current lineup of cable channels.

STILL AN UNDERSERVED AUDIENCE

“A multicultural cable subscriber today sees his or her dollar being mainstream, but the reality is when they look at what’s being offered they’re seeing that there’s just not that much there,” said Mark Walton, president of sales and marketing for One Caribbean Television. “Even though you may see an article or some conversation around all of this, from the consumer’s perspective it gets back to ‘I have 500 channels and I only have four or five that are addressing some of the interests I have.’ ”

One Caribbean Television, which offers entertainment, news and weather content from such Caribbean nations as the Bahamas, Antigua and Barbuda, Jamaica and Barbados, is currently offered on RCN with the network in distribution talks with several other operators. One Caribbean targets the nearly 10 million to 20 million African-Americans who have some connection to the Caribbean, as well as mainstream viewers who travel and have interest in the region.

“The consumer is paying X dollars but is getting X minus dollars in terms of value to them,” Walton said. “In order to breach that gap and reduce churn, you have to have the offerings that that consumer wants.”

Network executives said they recognize that MVPDs are under pressure to curb programming costs and adjust programming packages to prevent younger subscribers from churning or shifting to over-the-top subscription VOD services.

“[Distributors] might not be as confident to take risks on launching multicultural-themed channels,” Miguel Santos, general manager for Asian-American targeted network Myx TV, said. “The business environment is di_ cult — they’re seeing some churn, so it’s making a lot of MVPD executives risk-averse. They don’t really see at the moment the value of multicultural channels.”

One executive who said she does recognize the value of multicultural content is Verizon Fios executive director of content strategy and acquisition Michelle Webb. She told the Horowitz Associates Cultural Insights Forum in March that the telco is looking to balance that with finding the best ways to offer the most choice to consumers.

“It’s all about managing demand and bandwidth considerations,” she said.

Aspire TV has seen some small but noteworthy movement on the distribution front, vice president of business affairs and channel operations Melissa Ingram said. The African-American-targeted network, founded by basketball hall of famer Earvin “Magic” Johnson, has seen its subscriber rolls grow to 34 million viewers since its 2012 launch; it projects it will be in 37 million homes by year-end.

“Not only is [the multicultural] audience is requesting this type of programming but … from a business standpoint, affiliates are starting to understand the importance of having diverse content,” she said. “They’ve seen the success of shows like Empire and they’ve seen a movement by subscribers demanding such content, which is forcing these large distributors to understand the importance and value of it and to get more content like that on their systems.”

As networks continue to push for linear distribution, others are exploring the Web in an eff ort to generate interest and awareness for their brands. Networks such as Myx TV, Fuse and One Caribbean Television use apps to give viewers a chance to check out video content from the networks, as well as some live programming.

BOOSTING ONLINE REACH

“If you want to reach a younger audience, you have to be available on all of the relevant devices, and you have to have content that’s available on-demand,” Fuse Media CEO Michael Schwimmer said. “Obviously, you have to be able to balance that with the network’s role within the pay TV ecosystem, but I think that it’s all doable and important. Anybody that doesn’t have a strong digital presence does so at their own risk.”

Myx TV’s Santos believes networks targeting multicultural millennials in particular may find online distribution a more attractive way of exposing the brand to key audiences. Asian-Americans, especially, tend to watch content online on various mobile devices, so anyone looking to reach that audience would fare well in the digital space, according to Santos.

Myx TV is considering launching an OTT service in the near future, although Santos would not disclose a time frame. “OTT is possibly the key to diversifying entertainment,” he said. “Given the competitive environment and the uncertainty within the industry, it would behoove us to look at all options to really get our content out.

“In the end, the power is with the viewer, and they will decide where they want to watch their content — if they want to watch it over the top we should be there, and if they want to watch it on a linear platform we should be there, too.”

A recent spate of dramas featuring African- Americans in lead roles has generated big ratings numbers for networks and has reeled in significant black viewership.

The Fox broadcast network’s music-themed series Empire averaged 11.3 million viewers for its Jan. 28 episode, up nearly 2 million viewers from the 9.9 million drawn to the series premiere on Jan. 7, according to Nielsen.

Empire, starring Terrance Howard and Taraji P. Henson as music moguls, was the second most watched show among African-American viewers the week of Jan. 26-Feb. 2 behind only NBC’s Super Bowl coverage, said Nielsen.

During the same week on cable, OWN’s The Haves and the Have Nots was the most-watched show among African-American viewers, with BET’s The Game finishing fifth on the list. BET’s sophomore drama series Being Mary Jane debuted last Tuesday (Feb. 3) to 2.3 million viewers, above the series premiere number last year and setting the stage for a finish among the most-watched series in African-American homes during its winter run. Last week it was renewed for a third go-round, as well.

Other drama series with predominately African- American casts, such as Starz’s Power, have also drawn large black viewership. The series, about James “Ghost” St. Patrick, a club owner and drug kingpin, averaged an African- American audience penetration of 71%, the most of any scripted series on a premium network since HBO’s The Wire in 2006.

OWN co-president Erik Logan said the dramas are reaching an underserved audience looking to see themselves in more dramatic roles. The network last said it will develop a new drama series Queen Sugar, featuring OWN CEO Oprah Winfrey in a recurring role and produced by Selma director Ava DuVernay.

“There are characters there that achieve a level of mirror reflection of what’s happening in the community and the culture today,” Logan said.