Iman is just about to celebrate her 60th birthday and the supermodel couldn’t look any more stunning. It only makes us want to rush and buy her entire cosmetics line if it’ll give us the hope of looking this good when we’re her age. Iman is ringing in the big milestone with a cover shoot for Vanity Fair Italia’s latest issue, where she poses in some glamorous styles. Between the super short ‘do, the hair accessories, fierce makeup and the fact that Iman can make anything look amazing, we’re just loving everything about this fashion spread.
The fashion spread was shot by Markus & Koala and the model was thrilled to share her images with her Instagram followers. Iman not only shared the Vanity Fair Italia cover, but also takes from her shoot with the hashtag #ImanAgelessChic. She truly is.
So how does she stay looking so young through the decades? Turns out it’s not rocket science and you won’t find it in a plastic surgeon’s office.
“I go to the gym, I am attentive to the diet. And I’m not complaining of the extra pounds, at least a couple, because they act as a natural botox,” she said. “When women get older, the first place you see it is the face that becomes too thin, worn out, tired. And then they go to get botox, but for me the best remedy is a bit ‘overweight.’”
If you want a glimpse of her cover story and can speak Italian, click here.
article by Dorkys Ramos via bet.com
Posts published in “Day: June 23, 2015”
NEW YORK (AP) — Albert Evans, a former New York City Ballet principal dancer and one of the most prominent African-Americans in classical dance, has died at age 46.
Evans died at New York’s Mount Sinai Hospital on Monday night “following a short illness,” said Rob Daniels, a spokesman for the ballet company. He did not have further details.
Evans was one of only two African-American principal dancers in New York City Ballet’s 67-year history. The first was Arthur Mitchell, who is now 81.
As a principal, Evans danced a huge variety of roles in the City Ballet repertoire, from classical to modern, from George Balanchine to Jerome Robbins to Christopher Wheeldon. He joined the company in 1988 and quickly rose through the ranks, becoming a soloist in 1991 and a principal in 1995. Evans retired during the spring 2010 season with an emotional farewell performance, and had been serving since then as a ballet master at the company.
“The entire New York City Ballet family is heartbroken by the loss of our beloved friend and colleague Albert Evans,” said Peter Martins, the company’s ballet master in chief, in a statement. “Kind, warm, generous, and always a joy to be with, Albert is quite simply irreplaceable.”
Evans was born in Atlanta, Georgia, and trained there as a youngster. In 1986, he was awarded a full scholarship to the School of American Ballet, NYCB’s official school.
His more prominent roles in Balanchine ballets included the Cavalier in “The Nutcracker” and Puck in “A Midsummer Night’s Dream,” among many others. He had featured roles in Wheeldon’s “Polyphonia” and “Liturgy.” And he originated roles in a number of works by Martins, including his 1991 “Sleeping Beauty,” in which Evans danced Puss in Boots, and “Romeo + Juliet,” in which he played a commanding Prince of Verona.
Friends and colleagues in the dance world took to social media on Tuesday to praise Evans. “Goodbye dear Albert, a beautiful soul,” wrote choreographer Alexei Ratmansky on Facebook.
Evans was one of only two African-American principal dancers in New York City Ballet’s 67-year history. The first was Arthur Mitchell, who is now 81.
As a principal, Evans danced a huge variety of roles in the City Ballet repertoire, from classical to modern, from George Balanchine to Jerome Robbins to Christopher Wheeldon. He joined the company in 1988 and quickly rose through the ranks, becoming a soloist in 1991 and a principal in 1995. Evans retired during the spring 2010 season with an emotional farewell performance, and had been serving since then as a ballet master at the company.
“The entire New York City Ballet family is heartbroken by the loss of our beloved friend and colleague Albert Evans,” said Peter Martins, the company’s ballet master in chief, in a statement. “Kind, warm, generous, and always a joy to be with, Albert is quite simply irreplaceable.”
Evans was born in Atlanta, Georgia, and trained there as a youngster. In 1986, he was awarded a full scholarship to the School of American Ballet, NYCB’s official school.
His more prominent roles in Balanchine ballets included the Cavalier in “The Nutcracker” and Puck in “A Midsummer Night’s Dream,” among many others. He had featured roles in Wheeldon’s “Polyphonia” and “Liturgy.” And he originated roles in a number of works by Martins, including his 1991 “Sleeping Beauty,” in which Evans danced Puss in Boots, and “Romeo + Juliet,” in which he played a commanding Prince of Verona.
Friends and colleagues in the dance world took to social media on Tuesday to praise Evans. “Goodbye dear Albert, a beautiful soul,” wrote choreographer Alexei Ratmansky on Facebook.
“He gave us all the strength, beauty, joy, laughter, smiles, passion, and inspiration to keep going, to keep pushing onward, to be the best we could be,” wrote principal dancer Sara Mearns on Instagram.
Dancer and rising choreographer Justin Peck, also on Instagram, called Evans “such an incredible, luminous person. Albert always brought warmth, hospitality, enthusiasm, humor to any situation.”
In addition to his dance roles, Evans choreographed several works, including “Haiku,” to music by John Cage, for New York City Ballet’s 2002 Diamond Project, as well as a solo for NYCB principal Peter Boal in 2003, performed at the Joyce Theater.
Evans also appeared in the 2002 “Live From Lincoln Center” broadcast of “New York City Ballet’s Diamond Project: Ten Years of New Choreography.”
article by Jocelyn Noveck via news.yahoo.com
RICHMOND, Va. — Virginia Governor Terry McAuliffe has ordered the Confederate flag removed from Virginia state license plates. The flag is displayed on a specialty plate designed for the Sons of Confederate Veterans. The governor’s announcement came in the wake of a U.S. Supreme Court ruling that the state of Texas was allowed to reject a license plate design that featured a Confederate battle flag and the removal of the flag from the South Carolina statehouse grounds following last week’s fatal shootings at am African-American church in Charleston.
“As [South Carolina] Governor Haley said yesterday, her state can ill afford to let this symbol continue to divide the people of South Carolina. I believe the same is true here in Virginia. Although the battle flag is not flown here on Capitol Square, it has been the subject of considerable controversy, and it divides many of our people,” Governor Terry McAuliffe said. “Even its display on state issued license tags is, in my view, unnecessarily divisive and hurtful to too many of our people. As you all know, I have spent the past 17 months working to build a new Virginia economy that is more open and welcoming to everyone. Removing this symbol from our state-issued license plates will be another step toward realizing that goal.”
Millions of African Americans will soon be able to trace their families through the era of slavery, some to the countries from which their ancestors were snatched, thanks to a new and free online service that is digitizing a huge cache of federal records for the first time.
Handwritten records collecting information on newly freed slaves that were compiled just after the civil war will be available for easy searches through a new website, it was announced on Friday.
The records belong to the Freedmen’s Bureau, an administrative body created by Congress in 1865 to assist slaves in 15 states and the District of Columbia transition into free citizenship.
Before that time, slaves were legally regarded as property in the US and their names were not officially documented. They often appeared only as dash marks – even on their owners’ records.
African Americans trying to trace family history today regularly hit the research equivalent of a brick wall prior to 1870, when black people were included in the US census for the first time.
Now a major project run by several organisations is beginning to digitise the 1.5 million handwritten records from the Freedmen’s Bureau, which feature more than four million names and are held by various federal bodies, for full online access.
All the records are expected to be online by late 2016, to coincide with the opening of the new Smithsonian National Museum of African American History and Culture on the National Mall in Washington.
Hollis Gentry, a genealogy specialist at the Smithsonian, said at the announcement of the project in Los Angeles on Friday: “The records serve as a bridge to slavery and freedom. You can look at some of the original documents that were created at the time when these people were living. They are the earliest records detailing people who were formerly enslaved. We get a sense of their voice, their dreams.”
Gentry also said it could help people now find living relatives on their family tree, as well as records of forebears.
“I predict we’ll see millions of living people find living relatives they never knew existed. That will be a tremendous blessing and a wonderful, healing experience,” Gentry said.
The Freedmen’s Bureau made records that include marriages and church and financial details as well as full names, dates of birth and histories of slave ownership.
They have been available for access by the public in Washington, but only in person by searching through hundreds of pages of handwritten documents.
The project to put the documents online is a collaboration involving the Smithsonian, the National Archives, the Afro-American Historical and Genealogical Society, the California African American Museum and FamilySearch. The last-named body is a large online genealogy organisation run by the Church of Jesus Christ of Latter-Day Saints – otherwise known as the Mormon church, based in Salt Lake City.
Volunteers will help to digitize the handwritten records and they will be added to the website as they become available. The website is discoverfreedmen.org.
The announcement was made by FamilySearch and some of the project partners in Los Angeles on Friday, the 150th anniversary of “Juneteenth”, the oldest known celebration of the ending of slavery which commemorates 19 June 1865, the day when it is believed that the last slaves held in US ownership were told of their emancipation.
Sharon Leslie Morgan, founder of Our Black Ancestry Foundation, an organization that provides research for African American genealogical research, said the indexing was important for history and for today. “In order for us to deal with contemporary issues that we have today – racism, black boys being shot down in the streets – you have to confront the past,” she told USA Today.
“The land was stolen from the Native Americans. The labour was provided for free by African slaves. The entire foundation of American capitalism is based on slavery, on a free labour market. People don’t want to deal with that, and you have to.”
article by Joanna Walters via theguardian.com
Handwritten records collecting information on newly freed slaves that were compiled just after the civil war will be available for easy searches through a new website, it was announced on Friday.
The records belong to the Freedmen’s Bureau, an administrative body created by Congress in 1865 to assist slaves in 15 states and the District of Columbia transition into free citizenship.
Before that time, slaves were legally regarded as property in the US and their names were not officially documented. They often appeared only as dash marks – even on their owners’ records.
African Americans trying to trace family history today regularly hit the research equivalent of a brick wall prior to 1870, when black people were included in the US census for the first time.
Now a major project run by several organisations is beginning to digitise the 1.5 million handwritten records from the Freedmen’s Bureau, which feature more than four million names and are held by various federal bodies, for full online access.
All the records are expected to be online by late 2016, to coincide with the opening of the new Smithsonian National Museum of African American History and Culture on the National Mall in Washington.
Hollis Gentry, a genealogy specialist at the Smithsonian, said at the announcement of the project in Los Angeles on Friday: “The records serve as a bridge to slavery and freedom. You can look at some of the original documents that were created at the time when these people were living. They are the earliest records detailing people who were formerly enslaved. We get a sense of their voice, their dreams.”
Gentry also said it could help people now find living relatives on their family tree, as well as records of forebears.
“I predict we’ll see millions of living people find living relatives they never knew existed. That will be a tremendous blessing and a wonderful, healing experience,” Gentry said.
The Freedmen’s Bureau made records that include marriages and church and financial details as well as full names, dates of birth and histories of slave ownership.
They have been available for access by the public in Washington, but only in person by searching through hundreds of pages of handwritten documents.
The project to put the documents online is a collaboration involving the Smithsonian, the National Archives, the Afro-American Historical and Genealogical Society, the California African American Museum and FamilySearch. The last-named body is a large online genealogy organisation run by the Church of Jesus Christ of Latter-Day Saints – otherwise known as the Mormon church, based in Salt Lake City.
Volunteers will help to digitize the handwritten records and they will be added to the website as they become available. The website is discoverfreedmen.org.
The announcement was made by FamilySearch and some of the project partners in Los Angeles on Friday, the 150th anniversary of “Juneteenth”, the oldest known celebration of the ending of slavery which commemorates 19 June 1865, the day when it is believed that the last slaves held in US ownership were told of their emancipation.
Sharon Leslie Morgan, founder of Our Black Ancestry Foundation, an organization that provides research for African American genealogical research, said the indexing was important for history and for today. “In order for us to deal with contemporary issues that we have today – racism, black boys being shot down in the streets – you have to confront the past,” she told USA Today.
“The land was stolen from the Native Americans. The labour was provided for free by African slaves. The entire foundation of American capitalism is based on slavery, on a free labour market. People don’t want to deal with that, and you have to.”
article by Joanna Walters via theguardian.com
Walmart said in a statement Monday that it is removing “all items” promoting the Confederate flag for sale from its stores and its website. The move came the same day that Gov. Nikki Haley of South Carolina called for the removal of a Confederate flag from the state Capitol grounds in Columbia. Her announcement in turn came in the wake of last week’s shooting at a historically black Charleston church that left nine dead.
Charged in the killing is Dylann Roof, 21, who is white and has been attributed with making white supremacist statements. He has been pictured with images of a Confederate flag.
“We never want to offend anyone with the products that we offer,” Walmart spokesman Brian Nick said in an emailed statement. “We have taken steps to remove all items promoting the confederate flag from our assortment — whether in our stores or on our web site.”
The statement continued, apparently answering an inquiry from CNN that cited items for sale based on Confederate flag imagery that were available on Walmart.com. A story on CNN’s website said the Walmart statement was in response to a network inquiry about sales of Confederate flag-related items.
“We have a process in place to help lead us to the right decisions when it comes to the merchandise we sell. Still, at times, items make their way into our assortment improperly — this is one of those instances,” Nick said.
Walmart is the world’s largest retailer, with nearly 11,000 stores in 28 countries.
article by Ed Brackett via usatoday.com