NASA Administrator and former astronaut Charles Bolden Jr. (photo via blackamericaweb.com)
article by Tonya Pendleton via blackamericaweb.com Charles Bolden Jr., NASA’s first Black administrator, was nominated for the post in 2009 by President Barack Obama and confirmed by the Senate that same year. Bolden nearly saw his career take another course in the early ’60’s, but he used his connections and a bit of humility to aid his quest to enter the U.S. Naval Academy.
Born August 19, 1946 in Columbia, South Carolina, Bolden was a football player at C.A. Johnson High School. Bolden was determined to enter the Academy. When he found out that a vice president can nominate anyone to the Academy while the president can only nominate the children of military personnel, he wrote a letter to then V.P. Lyndon B. Johnson to request his nomination.
Bolden saw his dreams dashed in November of 1963 when President John F. Kennedy was assassinated. With Johnson elevated to president, Bolden moved to request that his state representatives nominate him for the Academy. But the elected officials in South Carolina, including notoriously racist Sen. Strom Thurmond, didn’t endorse Bolden due to his race.
Bolden then contacted Johnson and reminded the sitting president of their earlier correspondence. Eventually, Bolden was nominated by Rep. William Dawson of Chicago and he entered the Academy in 1964. After earning his degree in Electrical Science in 1968, he became an aviator with the U.S. Marine Corps and flew over 100 missions.
The Omega Psi Phi fraternity member earned his master’s degree in systems management from the University of Southern California in 1977. Two years later, Bolden completed courses at the United States Naval Test Pilot School and was selected by NASA as an astronaut candidate in 1980. In 1981, Bolden’s astronaut appointment was official and he flew four space missions between 1986 and 1994. To read more, go to: http://blackamericaweb.com/2016/02/17/little-known-black-history-fact-charles-bolden-jr/
New Wellesley President Dr. Paula A. Johnson (photo via wellesley.edu) article by Jeremy Fox via bostonglobe.com Wellesley College announced Thursday it had appointed Dr. Paula A. Johnson, a Harvard Medical School professor and advocate for women’s health, as its president, making her the first African-American to lead the school.
Johnson will become the 14th president of the women’s liberal arts college in July. She replaces H. Kim Bottomly, who said in April she would step down after nine years.
Johnson, 56, said in an interview that she felt a special responsibility as the college’s first African-American leader and believes that student diversity is one of Wellesley’s strengths.
She said she would work “to not only strengthen and deepen that diversity, but also ensure that our residential experience is taking full advantage of that diversity, that our young women are really experiencing all the richness that that diversity brings on campus.”
Wellesley graduated its first African-American student in 1887. In 2014-2015, the most recent academic year for which data are available, the student population was 5 percent black, 9 percent Hispanic, 22 percent Asian, and 6 percent biracial or multiracial. Another 12 percent were international students.
On campus Thursday, the appointment resonated with sophomore Gabrielle Taylor.
“For someone who looks like me, a black woman, to become president of Wellesley College — it is so inspiring to me. She truly embodies black excellence,” said Taylor.
Johnson said that Wellesley has important work to do in preparing students for both the great expansion of leadership opportunities for women and the ongoing disparities in women’s employment and health care options.
“Wellesley could not be more relevant today in terms of its role in providing an outstanding liberal arts education, which we know is so critical to developing the next generation and to the future of our world,” she said.
A committee of students, alumnae, trustees, faculty, and staff unanimously recommended Johnson after an eight-month search.
“Even among a superb group of candidates, Dr. Johnson stood out through her record as a scholar and leader, together with her passion for women’s advancement, education, and well-being, the energy and insights she conveyed in our discussions, and her enthusiasm for Wellesley,” Debora de Hoyos, chairwoman of the search committee and a college trustee, said in a statement.
Johnson is the former chairwoman of the Boston Public Health Commission, a professor at the Harvard T.H. Chan School of Public Health, and a physician at Brigham and Women’s Hospital.
She attended Harvard and Radcliffe colleges and trained in internal and cardiovascular medicine at Brigham and Women’s. She is the daughter-in-law of a Wellesley alumna and lives with her husband and two children in Brookline.
She currently serves as the chief of the Division of Women’s Health at Brigham and Women’s and is founder and executive director of the hospital’s Mary Horrigan Connors Center for Women’s Health & Gender Biology.
Johnson’s work has focused in part on biological differences between women and men, seeking to correct a longstanding imbalance in medical research that looked only at men, she said.
“Dr. Johnson has devoted her life to improving the lives of women,” said Charlotte Harris, a Wellesley senior who served on the search committee, in a statement. “She truly understands the issues of equity, inclusion, and well-being that are so important to Wellesley students.”
The women’s college west of Boston has about 2,400 students and counts former secretaries of state Hillary Clinton and Madeleine Albright among its graduates. Johnson said many Wellesley students support Clinton’s presidential campaign.
“There’s a tremendous excitement around the possibility of seeing a woman be next president,” she said. “It’s about leadership, and that leadership reflecting back at you and giving you a sense of pride and hope for what is possible.”
Wellesley made headlines last year when it announced it would begin accepting transgender women in the Class of 2020, following similar policy changes at women’s colleges such as Mount Holyoke in South Hadley and Simmons in Boston’s Fenway neighborhood.
Johnson said it was a policy change that students, alumni, and the college leadership had embraced.
“The mission of Wellesley is to educate women, and women who will make a difference in the world,” she said, “and I think that embracing transgender women is part of our mission.” Dina Rudick of the Globe staff contributed to this report.
Lisa Lucas (photo via nytimes.com) article by Zon D’Amour via hellobeautiful.com
Avid reader and magazine publisher Lisa Lucas has been named the new Executive Director of the National Book Foundation. Lucas is only the third executive director and first African American woman in the history of the literary organization which was formally established in 1986.
Its first executive director, Neil Baldwin, served until 2003. His successor, Harold Augenbraum, announced he would be retiring in the spring. Lucas will begin her position on Monday, March 14.
According to the New York Times, a part of Lucas’ initiatives as Executive Director will be overseeing the inclusion of more women and authors of color as recipients of the National Book Awards. The coveted prize has been honoring literary excellence since 1950.
“Readers are everything, readers are everyone. It should be about building one big massive audience that’s reflective of where we live” said Lucas.
Her literary background includes serving as the publisher of Guernica, an arts magazine with an international and often political focus. Prior to that, the 36-year-old worked for several nonprofit cultural institutions, including the Tribeca Film Festival and the Steppenwolf Theater in Chicago.
In an interview with NPR, she shared her excitement for her new position, “It has just been an ecstatic joy to be able to do work in service of readers…it just feels like an extraordinary opportunity to build on the work they’ve done, and to keep figuring out ways to engage readers.”
Copeland re-creates Degas’s The Star; Valentino dress, $15,500, 212-355-5811; Wilhelm headpiece, $495, and corsages, $135, wilhelm-nyc.com; Mokuba ribbon, $11 per yard, 212-869-8900. Photos by Ken Browar & Deborah Ory (via harpersbazaar.com)
article by Stephen Mooallem; Fashion Editor: Michelle Jank via harpersbazaar.com
Ballet dancers, Misty Copeland tells me, like to be in control. It’s something about ballet itself—the painstaking quest to achieve the appearance of a kind of effortless athleticism, fluidity, and grace—that makes it hard to let go. “I think all dancers are control freaks a bit,” she explains. “We just want to be in control of ourselves and our bodies. That’s just what the ballet structure, I think, kind of puts inside of you. If I’m put in a situation where I am not really sure what’s going to happen, it can be overwhelming. I get a bit anxious.”
Copeland says that’s part of the reason she found posing for the images that accompany this story—which were inspired by Edgar Degas‘s paintings and sculptures of dancers at the Paris Opéra Ballet—a challenge. “It was interesting to be on a shoot and to not have the freedom to just create like I normally do with my body,” she says. “Trying to re-create what Degas did was really difficult. It was amazing just to notice all of the small details but also how he still allows you to feel like there’s movement. That’s what I think is so beautiful and difficult about dance too. You’re trying to strive for this perfection, but you still want people to get that illusion that your line never ends and that you never stop moving.”
It should probably come as no surprise that Copeland would have trouble conforming to someone else’s idea of what a ballerina should look like; she gave that up a long time ago. At 33, she’s in the midst of the most illuminating pas de deux with pop culture for a classical dancer since Mikhail Baryshnikov went toe-to-toe with Gregory Hines in White Nights. Last June, she was named a principal dancer at American Ballet Theatre, the first African-American woman to hold that distinction.
Copeland as Swaying Dancer (Dancer in Green); Oscar de la Renta dress, $5,490, 212-288-5810; Mokuba ribbon, $11 per yard; Hatmaker by Jonathan Howard headpiece corsage, $70, hatmaker.com.au. (photo by Ken Browar & Deborah Ory)
She was also the subject of a documentary, Nelson George’sA Ballerina’s Tale, which chronicled her triumph over depression and body-image issues, as well as her comeback from a career-threatening leg injury in 2012. The story of her rise from living in a single room in a welfare motel with her mother and five siblings to the uppermost reaches of the dance world has become a sort of 21st-century parable: the unlikely ballerina, as Copeland referred to herself in the subtitle of her 2014 memoir, Life in Motion, who may be on her way to becoming the quintessential ballerina of her time.
Degas’s ballet works, which the artist began creating in the 1860s and continued making until the years before his death, in 1917, were infused with a very modern sensibility. Instead of idealized vis -ions of delicate creatures pirouetting onstage, he offered images of young girls congregating, practicing, laboring, dancing, training, and hanging around studios and the backstage areas of the theater. Occasionally, portly men or dark figures appear, directing or otherwise coloring the proceedings. “People call me the painter of dancing girls,” Degas is said to have once told his Paris art dealer Ambroise Vollard, the Larry Gagosian of the day. “It has never occurred to them that my chief interest in dancers lies in rendering movement and painting pretty clothes.” It’s an unsentimental place, Degas’s ballet, and his representation of the dancers is far from sympathetic. But it’s a space where he discovered not only a freedom for himself as an artist but also a kind of beauty that existed behind all the beauty of the performance and in the struggle of his subjects to become something.
Copeland as Degas’s Dancer; Carolina Herrera top, $1,490, skirt, $4,990, 212-249-6552; Hatmaker by Jonathan Howard headpiece, $750, hatmaker.com.au; Mokuba ribbon, $11 per yard, 212-869-8900; Mood Fabrics fabric (worn as a belt), 212-230-5003. (photo by Ken Browar & Deborah Ory)
“Degas’s focus on dance is part of his engagement with depicting the subjects, spaces, rhythms, and sensations of modern life,” says Jodi Hauptman, senior curator in the department of drawings and prints at New York’s Museum of Modern Art, where an exhibition that explores Degas’s extensive work in monotype, “Edgar Degas: A Strange New Beauty,” opens this month. “His vision wanders and focuses, taking note of what usually is overlooked and homing in on what best reflects the conditions of his time.”
In her own way, Copeland is now forcing people to look at ballet through a more contemporary lens. “I see a great affinity between Degas’s dancers and Misty,” says Thelma Golden, director and chief curator of the Studio Museum in Harlem. “She has knocked aside a long-standing music-box stereotype of the ballerina and replaced it with a thoroughly modern, multicultural image of presence and power,” Golden says. “Misty reminds us that even the greatest artists are humans living real lives.”
“I definitely feel like I can see myself in that sculpture…Ballet was just the one thing that brought me to life.”
The first blush with ballet for Copeland was famously unromantic. Her mother, Sylvia DelaCerna, was a cheerleader for the Kansas City Chiefs, and her older sister had been a member of the drill team at their middle school in Hawthorne, near their home in San Pedro, California. So, at the age of 13, Copeland decided to try out for the drill squad herself, choreographing her own routine—to George Michael’s “I Want Your Sex.” “An odd choice of song,” she says. “I chose ‘I Want Your Sex’ not really knowing anything about what that meant. But that’s how my whole dance career took off.”
Copeland as Degas’s Little Dancer Aged Fourteen; Alexander McQueen dress, $4,655, and corset, $4,525, 212-645-1797; Mood Fabrics ribbon (in hair), 212-230-5003. (photo by Ken Browar & Deborah Ory)
Copeland didn’t just make the team; she was named captain. Her drill coach, Elizabeth Cantine, had a background in classical dance and suggested that Copeland try taking a ballet class at the local Boys & Girls Club. “The class was given on a basketball court, and I was wearing my gym clothes and socks—pretty far from a Degas painting,” Copeland recalls. But she was hooked. Within three months, she was dancing en pointe. “Before dance came into my life, I don’t really remember having any major goals or dreams of wanting to be anything. In the environment I grew up in, we were constantly in survival mode,” Copeland says. “I went to school, and I was really just trying to fit in and not be seen. But ballet was this thing that just felt so innate in me, like I was meant to be doing this.”
General Nadja West article via thegrio.com
On Tuesday, February 9, Lt. Gen Nadja West will be honored in an official ceremony formalizing her promotion to three-star general, making her the first African-American woman to achieve that rank in the United States Army. She is also the highest-ranking woman of any race to have graduated from West Point.
The promotion and ceremony follows the 54-year-old’s confirmation by the Senate as the new Army Surgeon General and Commanding General, U.S. Army Medical Command (MEDCOM) as of December. As such, West will be assisting and advising the Secretary of the Army and Army Chief of Staff in relation to all health care matters in the Army, in addition to overseeing development, organization, policy direction, and other matters relative to the Army-wide health care systems.
“I was once an orphan with an uncertain future,” said West of the promotion and the new responsibilities facing her in the future. “And I am incredibly honored and humbled to lead such a distinguished team of dedicated professionals who are entrusted with the care of our nation’s sons and daughters, veterans and family members. While our Army and our nation face tough challenges in the future, I am confident that collectively we have the right skills, commitment, and talent to meet those challenges with mission success,” she added. To read more, go to:http://thegrio.com/2016/02/04/nadja-west-black-female-three-star-general/
Martin Luther King Jr. speaks to National Press Club in July 1962 (photo via press.org)
In celebration of the Dr. Martin Luther King Jr. holiday, SiriusXM’s Urban View (channel 126)will air audio of Dr. King’s ‘Lost’ speech, first delivered at the National Press Club in 1962 more than 50 years ago.
Considered of significant historical value, Dr. King became the first African American to speak at the Club and delivered the captivating speech in front of a segregated establishment just days after being released from jail in Albany, Georgia. In it, he reiterates his vision for non-violent protest as the best way to achieve racial equality.
An audio recording was made of the speech and filed away in the Club’s Archives and later transferred to the Library of Congress. No television footage of the speech in its entirety exists. Excerpts of King’s speech were unveiled this past Tuesday at a National Press Club event moderated by SiriusXM host Joe Madison.
Press Club President John Hughes also unveiled a permanent Club memorial to Dr. King’s speech. “Martin Luther King’s 1962 speech was one of the most important events to ever happen at the National Press Club,” Hughes said. “I am honored this event at long last is getting proper recognition with such distinguished guests.”
SiriusXM Urban View will air full audio on Monday, January 18 at 6:00 am, 8:00 am, 8:00 pm and 10:00 pm. All times are ET.
Melvin L. Oliver was named president of Pitzer College. (photo via pitweb.pitzer.edu)
He grew up in a hardscrabble home with only one book — the Bible — and parents who worked blue-collar jobs and never advanced beyond ninth grade.
But Melvin L. Oliver rose to become an award-winning University of California professor, researcher, author and administrator noted for championing campus racial diversity. Now he will become the sixth president of Pitzer College — and the first African American to lead one of the five undergraduate Claremont Colleges, officials announced Wednesday.
Oliver, 65, will assume office July 1 at a time of national campus unrest over racial, ethnic and gender equity, including protests that forced out the dean of students at nearby Claremont McKenna College last year. Pitzer student activists have also asked for steps to increase campus diversity.
Oliver, who has tackled racial and economic inequality with both research and practical initiatives during three decades at UCLA and UC Santa Barbara, along with a stint at the Ford Foundation, said he would seek to address those concerns as one of his top priorities.
“I want to deepen the commitment of Pitzer to recruiting, supporting and graduating those students [of color] because I think it’s an exceptional education and I want it to be available to as many of them as possible,” he said in an interview.
Michael Jackson holding the several Grammy awards he won at the 1984 Grammy ceremonies Feb. 28, 1984, in Los Angeles. His top award was Album of the Year for Thriller. (SUSAN RAGAN/AFP/GETTY IMAGES)
Michael Jackson is still setting records years after his death. The King of Pop’s Thriller album has become the first album to go platinum 30 times in the U.S., with sales of more than 30 million albums here and 100 million albums worldwide.
“RIAA has awarded gold and platinum records on behalf of the music business for nearly 60 years, but this is the first time an artist has crossed the 30-times, multiplatinum plateau,” said Recording Industry Association of America chief Cary Sherman in a statement. “We are honored to celebrate the unique status of Thriller in gold and platinum history.”
Thriller was released Nov. 30, 1982, and spent nearly two-and-a-half years on the Billboard album charts, with 37 weeks at No. 1. The album was produced by Quincy Jones and won eight Grammys. Included on the album were such hits as “Billie Jean,” “Beat It” and its title song, “Thriller.”
“It is crystal clear that Michael Jackson is simply the greatest and biggest artist of all time,” Epic Records Chairman and CEO L.A. Reid said in a statement. “Not only are his charts hits, and sales stats staggering, but his pure musicality was otherworldly. Thriller was groundbreaking and electrifying … it was perfection. I am extremely proud that Michael is the heart and soul of Epic Records, and he will forever remain the one-and-only King of Pop.” article by Yesha Callahan via theroot.com
Lt. General Naja West is the Army’s first black Surgeon General (Photo: John G. Martinez, Photojournalist to the Secretary of the Army) Falls Church, VA – The Senate confirmed Thursday Lt. Gen. Nadja Y. West to serve as the new Army Surgeon General and Commanding General, U.S. Army Medical Command (MEDCOM). This makes West the Army’s first black Surgeon General.
Additionally, with the appointment as the 44th Army Surgeon General, West picks up a third star to become the Army’s first black female to hold the rank of lieutenant general. West was sworn in as the Army Surgeon general on Friday by Acting Secretary of the Army Eric Fanning. She most recently served as the Joint Staff Surgeon at the Pentagon.
The Army Surgeon General provides advice and assistance to the Secretary of the Army and Army Chief of Staff on all health care matters pertaining to the U.S. Army and its military health care system. West will be responsible for development, policy direction, organization and overall management of an integrated Army-wide health service system and is the medical material developer for the Army. These duties include formulating policy regulations on health service support, health hazard assessment and the establishment of health standards.
Dual-hatted as the MEDCOM commanding general, West oversees more than 48 medical treatment facilities providing care to nearly 4 million active duty members of all services, retirees and their Family members. MEDCOM is composed of three regional health commands, the Medical Research and Materiel Command, and Army Medical Department Center & School.
West holds a Bachelor of Science in Engineering from the United States Military Academy at West Point and a Doctorate of Medicine from George Washington University School of Medicine. She has held previous assignments as Commanding General, Europe Regional Medical Command; Commander of Womack Army Medical Center, Fort Bragg, N.C.; and Division Surgeon, 1st Armored Division, Army Europe and Seventh Army, Germany.
West hails from the District of Columbia, and she finished high school at the Academy of the Holy Names in Silver Spring, Md.
While West’s promotion to lieutenant general is already effective, she will “pin” on the rank in a formal ceremony in early 2015. article via eurweb.com
Chance The Rapper (photo via allhiphop.com)
The year 2015 is ending on a high for Hip-Hop. Earlier in the week, Kendrick Lamar was nominated for 11 Grammy Awards, the most ever for a Hip-Hop performer in a single year. And, tonight (12/12), Chance The Rapper became the first independent artist, in any genre, to perform on the 40-year old sketch comedy franchise, “Saturday Night Live.”
Chance performed 2 songs on the SNL stage. The first was “Somewhere In Paradise” with Jeremih. As is often the case, the song was part rap, part singing and all Chance catching the spirit, as he showed his jubilation for being on stage, both vocally and physically. His lyrics were joyous, even stating that there were people in his life who said he’d never reach this point, and yet, here he was. He also covered every inch of the stage with spirited dance moves. Jeremih joined halfway through and was the recipient of a bear hug at the end from the MC who seemed overwhelmed by the moment. Chance also was supported by a full band, which included his longtime collaborator, Donnie Trumpet, with whom he released the Surfalbum earlier this year, under the collective name of The Social Experiment.
Chance’s second song was “Sunday Candy,” his sweet love song from Surf. Unlike the first performance, this one was much more staid, with Chance seated while backed by his band and choir. Even still, his joyousness shone through the rain about which he sang. To take a look at both performances, click here. article by Parfit via ambrosiaforheads.com