At just 19-years-old, this week, Nigerian-born designer Taofeek Abijako became the youngest designer to present a collection at New York Fashion Week: Men’s. Taofeek held a presentation for his brand Head of State+‘s spring/summer 2019 collection, which paid homage to 70s afro-futurism styles and West African youth culture.
Head-of-State+ first caught the eye of the fashion community weeks after its official launch in 2016. According to The New York Times Style Magazine, Japanese luxury retailer United Arrows found his self-produced lookbook on Twitter and began stocking the brand shortly after. The following year The New York Times Style Magazine labeled Head of State+ a “brand to watch”, and sure enough, the industry took notice. At the time, Taofeek was a senior in high school living in his parents Albany, New York home. He had only immigrated from Nigeria just two years prior and had just retired his soccer cleats to focus on fashion completely.
The brand’s latest offering, entitled Genesis, is the fourth collection from Taofeek. Genesis reflects the high-end streetwear aesthetic Taofeek has been exploring since its inception, and featured light trucker jackets, white tailored pants, and fitted knitwear. Speaking to the CFDA Taofeek explained, “Genesis is the translation of Afro-futurism portrayed by the likes of Parliament-Funkadelic and Sun Ra through the lens of West African youth – while at the same time celebrating the vibrancy of West African youth culture in the ‘70s and drawing parallels to modern time. The continuous homage to Fela Kuti is also portrayed.”
Now in its second year of operation, Head of State+’s visions as a brand is beginning to manifest into something that is much bigger than clothing. “I approach Head of State+ as less of a brand and more of a case study,” Taofeek told the CFDA. “It’s me digging into my cultural upbringing while trying to have a firm grasp and understanding of it.” In addition to his cultural advocacy, Taofeek is making a case for youth culture and providing the blueprint for how young designers can bypass the fashion industry’s hierarchy and establish a solid brand with minimal financial backing or formal training.
Stephanie G. Adams, Dean of the Frank Batten College of Engineering and Technology at Old Dominion University, was honored with the Harriet Tubman Award at the American Society for Engineering Education (ASEE) conference in June. The Tubman Award is given annually to someone who has fought to increase gender and racial diversity within the 350 accredited engineering schools that operate in the United States.
To date, African American women account for just 0.54 percent of the nation’s roughly 28,000 engineering faculty members and fewer than 1 percent of U.S. engineering students.
Jeffrey Harris, founder and managing partner of a consultancy that specializes in the recruitment and advancement of traditionally underrepresented groups in engineering, technology and medicine, presented the award in Salt Lake City. “Harriet Tubman admonished us never to stop — to keep going,” Harris said. “Dean Adams’ career is a model for Ms. Tubman’s words,” he said.
Harris told Adams that he couldn’t imagine anyone more deserving of this year’s award — or more representative of its namesake, the 19th century abolitionist who led hundreds of enslaved people to freedom via the Underground Railroad, an elaborate network of safe houses.
“If we want to see a shift among women in engineering, we need to acknowledge that, just like in Hollywood, we must start doing some things differently,” Adams said. “Change is needed at every level.”
American Society for Engineering Education indicates that there are 368 engineering colleges in the United States. According to the Society of Women Engineers (SWE), there were 63 female engineering deans or directors across the country in January 2018, representing approximately 17% of the total leaders of engineering colleges in the U.S.
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:
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.
All Star Code (ASC) will carry out its mission to educate, prepare, and place young men of color in the tech industry through its fifth annual “Summer Intensive” STEM summer program. The nonprofit announced Tuesday that it raised over $1 million for the growth and development of the program. ASC also received a record number of applicants—nearly 1,000 for just 160 spots. According to Christina Lewis, who founded ASC in 2013, the organization is on track to educate a total of 10,000 young black and Latino men in tech and entrepreneurship by 2022.
“All Star Code’s impact continues to spread as we establish a pipeline of talented and ambitious young entrepreneurs who are ready to enter the tech industry,” said Lewis in a statement. “Tech is one of the most influential and lucrative industries, so it’s vital that Black and Latino young men are better represented in this space to capture its economic opportunity.”
BOYS WILL LEARN WEB DEVELOPMENT AND ENTREPRENEURSHIP IN STEM SUMMER PROGRAM
ASC’s flagship “Summer Intensive” program is a free six-week course that teaches students web development skills and about entrepreneurship. It also empowers students with soft skills and a network of like-minded peers. It will take place in New York City and Pittsburgh.
The effectiveness of All Star Code’s curriculum is amplified by corporate partners like AT&T, Cisco, Goldman Sachs, Google, JPMorgan Chase, MLB, and Medidata, as well as the academic institutions Chatham University and the University of Pittsburgh School of Education, which provide operational and financial support and services. Through these partnerships, students will gain access to mentorships, speakers, and professional work culture.
Since its creation in 2013, about 300 students have participated in ASC’s flagship summer programs. Of the summer intensive students, 95% of All Star Code graduates have gone on to four-year colleges, while half of the graduates have created their own business or tech-related project, reads the press release.
Lewis says she was inspired by her late father, iconic businessman Reginald F. Lewis, to launch ASC as a vehicle to diversify the tech space. “I channeled his legacy to start All Star Code,” she said. Before his death in 1993, Reginald created TLC Beatrice International Holdings, the first black-owned global enterprise to earn more than a billion dollars in revenue. “I realized that if my father were a young man today, he would no doubt be working in technology, the growth industry for building wealth in the 21st century,” Lewis told Black Enterprise.
Largely, Jackson passed me by, except as a kind of background music. The videos came and went on the screen and, as the news stories and TV footage became ever more puzzling and alarming, what interest I might have had in him became increasingly voyeuristic.
And all the while Jackson kept cropping up in places I didn’t expect to find him. My dry cleaner on the Hackney Road dressed like him. Jeff Koons made a giant porcelain sculpture of Jackson and his pet chimp, Bubbles. And here he is in Andy Warhol portraits, and in a huge equestrian portrait by Kehinde Wiley, based on Rubens’ Philip II on Horseback. Jackson is on the cover of Rolling Stone and Ebony and, in a Catherine Opie photograph, framed and smiling on Elizabeth Taylor’s bedside table. He’s a pieta, the Archangel Michael defeating the devil and, in a Mark Flood collage, a four-eyed alien standing next to ET. There are gigantic Michaels, tiny Michaels, badly drawn Michaels. Here he is in a horrible painting by Maggie Hambling that makes you squirm and want to run away. It is the worst thing here.
In Jordan Wolfson’s “Neverland,” Jackson is reduced to a tiny pair of hand-drawn eyes, blinking and swaying in a blank sea of emptiness on a big screen, to a gurgling sound reminiscent of a fish-tank aerator. Globbloboblob goes the sound, replacing whatever music Jackson might be swaying to. In Appau Junior Boakye-Yiadom’s PYT, Jackson is reduced to an overlarge pair of penny loafers, held on tiptoe (like his dance move “the freeze”) by a bunch of balloons. David Hammons has Jackson as one of a trio of microphone stands, the others standing for boxer Mike Tyson and basketball player Michael Jordan, in Which Mike Do You Want to Be Like…? The mic stands are too high for anyone to use, an image of unattainable ambitions and public expectations. Continue reading “National Portrait Gallery in London Debuts Michael Jackson-Inspired Art Exhibition “On The Wall””→
According to Variety.com, it was Wakanda for the Win at the 2018 MTV Movie & TV Awards, with Disney Marvel’s “Black Panther” winning the most film awards, including Best Movie, Best Performance and Best Hero for Chadwick Boseman and Best Villain for Michael B. Jordan.
Tiffany Haddish hosted the show, which aired Monday night on Viacom networks and was taped Saturday at the Barker Hangar in Santa Monica, CA. Haddish took home the popcorn herself for best comedic performance in “Girls Trip.”
Netflix’s “Stranger Things” dominated the television field with three awards, including best show. Millie Bobby Brown also won for show performance, while Noah Schnapp was recognized for frightened performance.
June 14 (UPI) — A Ugandan inventor has won the Royal Academy of Engineering‘s prestigious Africa Prize for developing a method of testing for malaria without drawing blood.
Brian Gitta, 24, became the prize’s youngest winner Wednesday after he and his team developed Matibabu, or “medical center” in Swahili, the Royal Academy of Engineering said in a statement.
Gitta’s low-cost, reusable invention clips onto a patient’s finger and provides a result within 60 seconds on a mobile phone. A red beam shines through the user’s finger to detect changes in shape, color and concentration of red blood cells — all of which are affected by malaria.
“We are very proud of this year’s winner. It’s a perfect example of how engineering can unlock development — in this case by improving healthcare,” Africa Prize judge Rebecca Enonchong said. “Matibabu is simply a game-changer.”
Shafik Sekitto, a member of the Matibabu team, told BBC News Gitta came up with the idea for a bloodless test after it once took four normal blood tests for medics to diagnose him with malaria — the leading cause of death in Uganda. “[Gitta] brought up the idea: ‘Why can’t we find a new way of using the skills we have found in computer science, of diagnosing a disease without having to prick somebody?” Sekitto said.
Gitta won more than $33,000 as the first-place winner at a ceremony in Nairobi, Kenya, where Africa Prize judges and a live audience voted for the most promising engineering innovation. Three runners-up won more than $13,000 each. “We are incredibly honored to win the Africa Prize — it’s such a big achievement for us, because it means that we can better manage production in order to scale clinical trials and prove ourselves to regulators,” Gitta said.
“The recognition will help us open up partnership opportunities — which is what we need most at the moment.”
The award, founded by Britain’s Royal Academy of Engineering in 2014, is Africa’s biggest prize for engineering innovation.
Alicia Keys announced on Wednesday the formation of a music-industry group for female advancement called She Is the Music.
The singer broke the news during her acceptance speech for the Icon Songwriter honor at the National Music Publishers Association’s annual meeting in New York.
“I’ve joined forces with a group of really powerful female executives, songwriters, artists, engineers, producers and publishers to help reshape the industry that we all love by creating real opportunities and a pipeline of talent for other women,” she said. “We’re calling our initiative She Is the Music. We want to create a model for change that effects women across all industries. We deserve the utmost respect, and so many of these women across industries are telling our culture that time is up on double standards, and it is it’s over for pay inequity and colleagues who are at best disrespectful and at the worst unsafe — so it’s over for that.”
Approached by Variety for more details following the ceremony, Keys would only say, “You’ll be hearing about it” and “We just want it to permeate right now.”She spoke at length about the issue in her 10-minute acceptance speech. After thanking the family members, collaborators and executives closest to her, she continued:
“It’s especially meaningful to receive this award right now as a woman in the music industry. (applause) My mama taught me that every year is the year of the woman so I never thought (inaudible), but this year is definitely something else. It’s a powerful year, it’s an empowering year, and it’s the beginning of so many things. And many of us in the music world are working more diligently than ever to showcase and support the work of female songwriters, musicians, engineers, and producers.
“We have to do something because the statistics are brutal,” she continued, citing statistics from a University of Southern California’s Annenberg School for Communication and Journalism study of Grammy nominees earlier this year. “Of almost 3,000 pop songwriters credited last year only 12% were female, only 3% of the engineers were female, and one of them is Ann [Mincieli, Keys’ regular engineer]. Only 2% of producers are female and one of them is me! Our world is 50-50, and it’s time for our industry to reflect that.
“So this reminds us all to continue to be conscious and present of the diversity we want to see in the workplace, and how we can make it better. So the next time that you get a chance to hire someone, whether it’s the biggest producer or the newest intern, look for a woman — especially a woman of color, a fresh voice, who brings something new to the spectrum. She is the music so give her a shot!
“Songwriters tell our stories, they sing who we are as people — don’t we all want to hear from all of us? My ancestors’ spiritual songs told their stories and gave them strength, and we’re all stronger because of it. And today’s battle for civil rights still draws on the power of protest songs written decades ago by Sam Cooke, Otis Redding, Bob Dylan, Bob Marley, Joan Baez, Nina Simone, Buffy St. Marie, Carole King, Joni Mitchell, Aretha, Tina, Dolly Parton — picking up that powerful torch and speaking the truth of women and our inner lives. And there are so many people carrying that forward: Mary J., Sia, SZA, Kacey [Musgraves], Solange, Janelle [Monae], H.E.R., and so many more talented female writers are running with that torch today and lifting all of us up.
“And I hope that when we look back on the first part of the 21st century that we as songwriters continue to capture the passions and problems and possibilities of this moment we’re in, so that future generations will know who we are and what really stand for.
“The songwriter is more powerful than any politician and any government because she reaches directly to the people and she uses her talent and skill and puts time in a capsule —ideally a capsule that holds about four minutes of material (laughter) — or if you’re Isaac Hayes about 20 minutes! God bless him too. And if she’s lucky as I’m blessed to be, her words will forever be sealed in our memories and our history and our hearts.
“So I thank you and I’m so grateful for this honor and for your work to continue, so we can all get what we deserve and to be a creative force that makes our hearts sing and makes love the forefront, and shows the world that magic and alchemy is possible every day.”
It’s a topic that Keys also spoke about at Variety’s Power of Women event in April. “We are more on fire than we’ve ever been,” she said, referencing her 2012 hit “Girl on Fire.” “Look at all the action that’s around us: women running for office in record numbers, women banding together in the entertainment industry, women demanding an end to disparity in the music industry like equal representation on the Grammy stage,” she said, referencing the low number of women performers during this year’s show and Recording Academy chief’s comment that women need to “step up” in order to get ahead in the music industry.
“We were told we need to step up. Well, you feel that step up now?”