According to blavity.com, while attending Howard University, Damon Lawrence worked in the hotel industry as a front desk agent, and decided he would own his own hotels one day with one exception–his business would cater exclusively to blackness. “Black culture leads American culture and American culture leads global culture, so [we] think it’s time a hotel property reflected the best of black culture,” Lawrence.
The young entrepreneur, along with his business partner and co-founder of Homage Hospitality, Marcus Carey (also a Howard alum), opened the doors to The Moor in New Orleans, Louisiana, this week. The upscale 10-room hotel pays homage to the Moors of North Africa through its architecture aesthetic. (You can use the promo code “Launch” through July 4th for 60% off your stay.)
https://www.instagram.com/p/BktbVPoHK8o/
Lawrence and Carey plan to open locations where black “culture is thriving;” such as Washington, D.C., Brooklyn and Detroit. The duo plans to open a 102-room property called The Town Hotel in Downtown Oakland by 2019. Even sooner, they plan to launch another property in the Treme section of New Orleans called The Freeman; it is known as the first place in the U.S. black people could purchase property.
“We want to go everywhere that culture exists and thrives, so there’s plenty on the plate”, Lawrence says.
To learn more about these men and their mission, check out their recent interview with Rolling Out.
Next week, new female group The Shindellas from the Nashville-based collective Weirdo Workshop, will be performing on Sunday, July 8 in New Orleans at the 2018 ESSENCE Festival and featured with Louis York at the Mercedes-Benz Superdome.
Band members Stacy Johnson, Tamara Williams, and Kasi Jones describe themselves as “Three women who have come together in sisterhood to sing songs about self-love, self-worth and self-respect,” and they have just released their debut single “Reconsider.”
Written and produced by multi-Grammy nominated songwriting-production team Louis York a.k.a. Chuck Harmony and Claude Kelly (Janet Jackson, Rihanna, Bruno Mars, Fantasia), “Reconsider” is catchy mid-tempo, old-school-meets-new-school song with contemporary lyrics such as “Don’t let anyone tell you who you should love / baby this is your life / it’s okay to like / the whole rainbow / I don’t care who you love / as long as / he or she fills you up / and never drags your heart / through the mud / so if you don’t feel like a winner / reconsider” packed in retro doo-wop, Motown-style beats.
Watch them perform the single on Today In Nashville below to get a taste of their considerable chemistry and style:
“Reconsider” is available on all digital platforms (click here) and you can purchase Essense Festival tickets to see them at www.essencefestival.com.
The Democratic National Committee has launched a new initiative, the Seat At the Table Tour, a Black women outreach tour designed to “rebuild relationships, restore trust, and strengthen infrastructure within communities to champion Democratic values and build towards electoral victories,” Refinery29 has learned.
Black women have been the Democratic Party’s most reliable voting bloc since the 1990s. Doug Jones’ win over Roy Moore in the Alabama Senate special election in December especially highlighted Black women’s power; they were largely credited to lifting Jones to victory through on the ground organizing and voter registration efforts.
Despite this, however, the Democratic Party has been criticized for neglecting the needs of Black women and not adequately supporting Black women who are running for office. Many Black women candidates, particularly in Alabama, have been operating with little institutional support, as Refinery29 reported in June.
According to the DNC, the tour, in collaboration with the Congressional Black Caucus and Black women mayors, will consist of listening and training sessions for Black women.
“This is the Democratic Party’s opportunity to show that we want more than just Black Women’s votes. We also need and want Black Women’s input, ideas, and organizing power,” Waikinya Clanton, the DNC’s director of African American outreach, told Refinery29. “We want to hear from Black Women across this country about what keeps them up at night and what we can do to help fix it. Whether it’s training candidates on how to address certain issues, training organizers on how to advocate on issues locally or connecting Black women Democrat. We want to connect and work with Black women to help move this country forward in a real and meaningful way.”
The tour officially kicked off June 16 in Brooklyn, where the late Congresswoman Shirley Chisholm, the first Black woman elected to Congress, was honored.
According to Black Women In Politics, a database of Black women running for office, there are 603 Black women candidates this year.
“This is our chance to invest in more than just candidates and state parties but opportunity to invest in infrastructure and people who help sustain communities,” Clanton said.
You can always count on Civil rights icon, Congressman John Lewis to be fired up and ready to fight the good fight and he’s stepping up to the frontlines of the immigration debate.
According to CNN, protesters also marched by the White House in Washington and the Trump International Hotel on Pennsylvania Avenue. They reportedly yelled, “shame, shame, shame” and “Hey, hey, ho, ho, Donald trump has got to go.”
And in Atlanta, John Lewis was ready to inspire protestors with a message honed over the years he marched alongside Dr. Martin Luther King Jr and others.
“Look, you know, I’ve been talking for some time and getting in trouble. It’s time for some of us to get in good trouble, necessary trouble,” the venerable Democrat told the crowd at the Families Belong Together rally in Atlanta.
“In the final analysis, we may have to turn America upside down to set it right side up, but whatever we do, do it in an orderly, peaceful and nonviolent fashion,” he said.
Lewis shared the sentiments of Rep. Maxine Waters who has energized her base with fiery speeches calling for disgruntled Americans to confront Trump administration officials after migrant children were snatched and separated from their mothers because of Trump’s harsh immigration policies.
Lewis also wrote a letter in June criticizing Trump’s immigration policy and calling it a “shame, a disgrace and an outrage.”
John Lewis urged the crowd to stay passionate, but peaceful. “Never, ever, ever hate.”
If you heard the John Coltrane Quartet live in the early-to-mid-1960s, you were at risk of having your entire understanding of performance rewired. This was a ground-shaking band, an almost physical being, bearing a promise that seemed to reach far beyond music.
The quartet’s relationship to the studio, however, was something different. In the years leading up to “A Love Supreme,” his explosive 1965 magnum opus, Coltrane produced eight albums for Impulse! Records featuring the members of his so-called classic quartet — the bassist Jimmy Garrison, the drummer Elvin Jones and the pianist McCoy Tyner — but only two of those, “Coltrane” and “Crescent,” were earnest studio efforts aimed at distilling the band’s live ethic.
But now that story needs a major footnote.
On Friday, Impulse! will announce the June 29 release of “Both Directions at Once: The Lost Album,” a full set of material recorded by the quartet on a single day in March 1963, then eventually stashed away and lost. The family of Coltrane’s first wife, Juanita Naima Coltrane, recently discovered his personal copy of the recordings, which she had saved, and brought it to the label’s attention.
There are seven tunes on this collection, a well-hewed mix that clearly suggests Coltrane had his sights on creating a full album that day. From the sound of it, this would have been an important one.
“Both Directions at Once: The Lost Album” is due on Impulse! on June 29. Credit:
“In 1963, all these musicians are reaching some of the heights of their musical powers,” said the saxophonist Ravi Coltrane, John Coltrane’s son, who helped prepare “Both Directions at Once” for release. “On this record, you do get a sense of John with one foot in the past and one foot headed toward his future.”
That’s true — though as Mr. Coltrane was careful to point out, his father always lived in a state of transition. The poet and critic Amiri Barakawrote in 1963 that Coltrane’s career was one of simultaneous “changes, resolutions and transmutations.” As the public came to depend on the grounding wisdom of his saxophone sound in the late 1950s and ’60s, Coltrane kept shifting and expanding it.
By the time he signed with Impulse! in 1961, he had mostly left behind the swift harmonic movement of his earlier work. He was resolutely exploring other elements: drones influenced by North African and Indian music; unbounded and jagged melodic phrasing. One of Coltrane’s earliest biographers, C.O. Simpkins, de
But Coltrane had a funny problem: He was also quite commercially successful, particularly for an improvising musician of such rigor. He had arrived at Impulse! shortly after scoring a megahit with “My Favorite Things,” and the producer Bob Thiele felt obligated to provide a stream of concept-driven and consumer-friendly projects. The other albums he made in 1963 with Coltrane were “Ballads,” “Duke Ellington and John Coltrane” and “John Coltrane and Johnny Hartman.”
Detail photos show materials from the papers of Angela Davis that are now housed at the Schlesinger Library. (Kris Snibbe/Harvard Staff Photographer) by Colleen Walsh via news.harvard.edu
For almost 60 years Angela Davis has been for many an iconic face of feminism and counterculture activism in America. Now her life in letters and images will be housed at Harvard University. Radcliffe College‘s Schlesinger Library has acquired Davis’ archive, a trove of documents, letters, papers, photos, and more that trace her evolution as an activist, author, educator, and scholar. The papers were secured with support from Harvard’s Hutchins Center for African & African American Research. The FBI wanted poster for Davis (Courtesy Schlesinger Library)
“My papers reflect 50 years of involvement in activist and scholarly collaborations seeking to expand the reach of justice in the world,” Davis said in a statement. “I am very happy that at the Schlesinger Library they will join those of June Jordan, Patricia Williams, Pat Parker, and so many other women who have been advocates of social transformation.” Jane Kamensky, Carl and Lily Pforzheimer Foundation Director of the Schlesinger Library, sees the collection yielding “prize-winning books for decades as people reckon with this legacy and put [Davis] in conversation with other collections here and elsewhere.”
When looking for new material, Kamensky said the library seeks collections “that will change the way that fields know what they know,” adding that she expects the Davis archive to inspire and inform scholars across a range of disciplines. Henry Louis Gates Jr. said that he’s followed Davis’ life and work ever since spotting a “Free Angela” poster on the wall at his Yale dorm. Gates, the Alphonse Fletcher Jr. University Professor, has worked to increase the archival presence of African-Americans who have made major contributions to U.S. society, politics, and culture. He called the Davis papers “a marvelous coup for Harvard.”
“She’s of enormous importance to the history of political thought and political activism of left-wing or progressive politics and the history of race and gender in the United States since the mid-’60s,” said Gates, who directs the Hutchins Center. “No one has a more important role, and now scholars will be able to study the arc of her thinking, the way it evolved and its depth, by having access to her papers.”
The acquisition is in keeping with the library’s efforts to ensure its collections represent a broad range of life experiences. In 2013 and 2014 an internal committee developed a diverse wish list, “and a foundational thinker and activist like Angela Davis was very naturally at the top,” said Kamensky. Kenvi Phillips, hired as the library’s first curator for race and ethnicity in 2016, met with Davis in Oakland last year to collect the papers with help from two archivists. Together they packed 151 boxes of material gathered from a storage site, an office, and Davis’ home.
(L-R) Actor Janelle Monae, NASA mathematician Katherine Johnson and actors Taraji P. Henson and Octavia Spencer pose backstage during the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California. (Photo by Christopher Polk/Getty Images) via apnews.com
INSTITUTE, W.Va. (AP) — Katherine Johnson, the NASA mathematician whose calculations helped astronauts return to Earth, is being honored at her alma mater West Virginia State University with a bronze statue and a scholarship in her name. West Virginia State says a dedication ceremony is planned for Aug. 25, the day before Johnson’s 100th birthday. Related: Katherine Johnson Computational Facility Opens at Langley Research Center
Long before the digital era, Johnson worked as a human “computer” at the agency that became NASA, working in relative obscurity as an African-American woman. Her contributions were later recognized in the “Hidden Figures” movie, with actress Taraji P. Henson playing her role.
West Virginia State hopes to endow the scholarship at $100,000, awarding money to students majoring in science, technology, engineering and math, targeting people who are underrepresented in those fields. Source: https://www.apnews.com/4267eb76ac9541428e20c0368c3483d9/NASA-mathematician-Katherine-Johnson-being-honored-in-bronze
Mellody Hobson climbed another rung on the ladder of success in the Fortune 500 business world, as she solidified her role on Starbucks’ board while holding down two other top board memberships. Few African-Americans have multiple board membership on the nation’s wealthiest companies.
Hobson, a graduate of Princeton University and considered an expert on matters of personal finance, often speaking on panels and featured on television news shows.
Starbucks’ board of directors on Monday appointed Hobson as its vice chair shortly after longtime chairman Howard Schultz announced his retirement, the company said in a statement on Monday.
Hobson’s promotion to the number two position came as Starbucks has been in the throes of damage control following a high-profile episode of racial profiling when two Black men were arrested at a Philadelphia store in April because they didn’t order anything. Last Tuesday, the company closed 8,000 stores nationwide for an afternoon of anti-bias training.
Fortune 500 boards are dominated by white men, but Hobson, who has served on Starbucks’ board since 2005, has defied the odds. JP Morgan Chase & Co. also appointed her to its board and she has been on Estee Lauder‘s board since 2004.
Still, African-Americans have made small gains in diversifying corporate boards. Black men increased their boardroom presence by 2 percent and Black women by 18.4 from 2012 to 2016, according to a multi-year study by the Alliance for Board Diversity (ABD).
The ABD report found that Blacks had the highest rate among all demographics of serving on multiple boards, which falls right in step with Hobson’s professional achievements, according to Ronald C. Parker, ABD’s chairman.
It’s an indication “that companies are going to the same individuals rather than expanding the pool of African-American candidates for board membership,” Parker told the New York Times last year. Source: https://blackamericaweb.com/2018/06/05/mellody-hobson-will-become-starbucks-vice-chair/
Oprah Winfrey at the National Museum of African American History and Culture (photo via cbsnews.com) by Lori Lakin Hutcherson (@lakinhutcherson)
Come Friday, we can all watch the seeds of the future, stand-alone Oprah Winfrey Museum be sown.
Opening June 8 and running through June 2019, the “Watching Oprah: The Oprah Winfrey Show and American Culture” exclusive exhibit at the Smithsonian’s National Museum of African American History and Culture will, according to The Washington Post, feature video clips, interview segments, movie costumes, and personal photographs and journals to explore what has influenced Winfrey and how her work has shaped America.
“What’s interesting is the same way America thought about Walter Cronkite — you could trust Walter Cronkite and his opinion — they trust Oprah,” said museum director Lonnie G. Bunch III. “An African American woman becomes the person America turns to.”
Winfrey donated $12 million to the $540 million museum as it was being built, making her its largest individual benefactor (its theater is named in her honor). But her role as benefactor did not influence the exhibition, Bunch said. “We made sure there was a bright line, that this was done by the museum and museum scholars,” he said. “The fundraising was not through Oprah’s people.”
Curators Rhea L. Combs and Kathleen Kendrick worked with Winfrey and her staff on arranging loans for the exhibition and on fact-checking and background information. “In terms of content and narrative and the way the story is told, it’s the museum’s product,” Kendrick said. “The way we approached it was the way we approach all of our exhibitions.”
The exhibit balances Winfrey’s humble personal story with her achievements. “We’re providing a context for understanding not only who she is, but how she became a global figure, and how she is connected to broader stories and themes,” Kendrick said. The first section of the show, which is in the Special Exhibitions gallery, explores Winfrey’s childhood and early career and how the cultural shifts of the 1950s and 1960s informed her worldview.
“Civil rights, the women’s movement, the media and television landscape, she’s at this distinct intersection of all of these dynamic moments,” Combs said. “She becomes someone at the forefront of dealing with ideas, of discussing hot-button topics like racism and sexual orientation.”
The middle section looks at the 25-year run of the “Oprah Winfrey Show,” the highest-rated talk show in U.S. television history. Using artifacts from Winfrey’s Harpo Studios in Chicago, where the show was filmed, this section focuses on its evolution, its variety of subject matter and guests, and its reach into social issues such as racism and equality.
“She used television as a social medium, convening conversations and creating these interactive experiences with people,” Kendrick said. “She’s offering lessons for living, social guidance in a way.”
The third section looks at Winfrey’s role as cultural influencer and tastemaker in the movies she has made (“The Color Purple,” “Beloved,” “The Butler”) the books she promoted in her television book club and her philanthropic work.
The timing of the high-profile exhibition was planned to coincide with the last quarter of the African American Museum’s second year, when officials expected a drop in attendance. Instead crowds are regularly at capacity and timed passes to enter are still required. Since opening Sept. 24, 2016, the museum has welcomed 3.8 million visitors, making it one of the most popular Washington D.C. attractions.
“I really thought after the first year it’d be business as usual, so at the end of the second year I’d do something to give it visibility,” Bunch said. “I didn’t anticipate we’d have the same crush of crowds.”
Bunch said he hopes the exhibition will encourage visitors to think about what Winfrey has represented over the years.
“There are so many issues, about women, power, media, body image,” he said. “This should be a popular show because of the impact of this person, but it is also a show that allows us to think about what it means that a woman who doesn’t fit the TV look could build a media empire and become an entrepreneur.”
by Adrienne Samuels Gibbs via chicagomag.com
Digitizing legacy. That’s the job of the curators behind The Obsidian Collection – archivists for The Chicago Defender, Baltimore Afro American and other historically black newspapers in the United States. Their task is massive: digitize every image and article from newspapers that played a central role in the Great Migration, Civil Rights and Jim Crow eras. But they won’t have to do it all alone. Google Arts & Culture is working with the Obsidian group on creating digital exhibits that can be free and searchable by anyone around the world.
That’s just the first step, and it’s huge.
“More than just digitizing it for researchers, I’m passionate about the next generation seeing how awesome we are and in changing the narrative permeating the American conversation right now about African Americans,” says Angela Ford, who is helming the project and is excited about how it will add a more accurate variety of African American image metadata to the Google brain trust.
Harold Washington and Charles Hayes with a young Carol Moseley Braun cropped from the original published image, 1983 PHOTO: COURTESY OF THE CHICAGO DEFENDER—OBSIDIAN COLLECTION
“What happens is a lot of these archive collections speak in an echo chamber of libraries and archives where it just doesn’t get out to the laypeople. What I love about Google Arts and Culture is you could be standing in line at the grocery store and viewing our archives. We’ll keep rotating them in and out and keep pushing them through social media. We want everyone to see us.” Eight exhibits are live on Google, giving people access to a wide range of images, from famed boxer Joe Louis at home in Chicago to coverage of a 1959 housewares show that illustrates how middle class black families lived at the time.
Obsidian already has an image of Harold Washington sitting with a young Carol Moseley Braun, except she was cropped out the image. There’s a water splattered image of children running through the spray of an open fire hydrant on 44th and Champlain, circa 1987. Even the mundane is fascinating, says Ford.
“The Defender had a housewares show in October 1959 and it was a big deal,” says Ford. “It cost a quarter to get in and we have pictures of all the black people promoting their products and Whirlpool was there with their miracle kitchen. We were separate from mainstream America and a lot of things went on in our community that shows a black middle class home.”
Ford is also working with her board—which includes people who have worked with the Smithsonian’s National Museum of African American History and Culture—on the larger issues that include the creation of virtual reality online exhibits.
“Google Culture Institute in Paris has invented the capacity to create virtual 3D spaces from a photograph,” says Ford, discussing the possibilities involved in using old picture to create virtual realities. “The question is, are we altering the art?”
Joe Louis and young fans, c. 1945 PHOTO: COURTESY OF THE CHICAGO DEFENDER—OBSIDIAN COLLECTION
A lot of this work is already on microfilm, but moving it to an online space will make it easier to access via smartphone, which is the end goal. Obsidian will slog through uploading everything to their own website and meanwhile, visitors will soon be able to head to Google Arts & Culture for a taste of what’s to come.
“Google’s arts and culture strategy is that everybody in the world can access everybody in the world and that will create a new world,” says Ford. “We want to make sure we are part of that conversation.” Source: http://www.chicagomag.com/city-life/June-2018/How-the-Obsidian-Collection-Is-Bringing-Black-Newspapers-to-Google/
