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Kenyan Dennis Kimetto Sets World Marathon Record of 2:02:57 in Berlin

By goodblacknews on September 28, 2014
Dennis Kimetto

Kenya’s Dennis Kimetto has broken the marathon world record in Berlin, winning the race in a time of two hours, two minutes and 57 seconds.

The 30-year-old shook off fellow Kenyan Emmanuel Mutai with just under three miles remaining to become the first man to run a marathon in less than two hours and three minutes.
Mutai, who finished second in 2:03:13, also broke the previous record.
“I feel good because I won a very tough race,” said Kimetto.
“I felt good from the start and in the last few miles I felt I could do it and break the record.”

Men’s marathon world record decade-by-decade
Year Time Athlete Course
1947 2:25.39 Suh Yun-bok (Korea) Boston
1958 2:15.17 Sergei Popov (Soviet Union) Stockholm
1969 2:08.33 Derek Clayton (Australia) Antwerp
1988 2:06.50 Belayneh Dinsamo (Ethiopia) Rotterdam
1999 2:05.42 Khalid Khannouchi (Morocco) Chicago
2008 2:03.59 Haile Gebrselassie (Ethiopia) Berlin
2014 2:02.57 Dennis Kimetto (Kenya) Berlin

The previous world record had been set on the same course 12 months ago by Kimetto’s compatriot Wilson Kipsang, who ran 2:03:23.

Kimetto, who won marathons in Tokyo and Boston last year, had promised to attack the record in Berlin if conditions allowed.
And in weather perfect for long-distance running, with temperatures around eight degrees centigrade, Kimetto kept his promise, staying in the lead group throughout and sprinting to victory and a new world’s best time.
Mutai, meanwhile, believes a two-hour marathon is possible.
“From what I saw today, times are coming down and down. So if not today, then tomorrow,” the 29-year-old Kenyan said. “Maybe next time we’ll get 2:01.”
Mutai had run the fastest marathon in history in 2:03:02 in Boston in 2011, but it did not count as a world record because the course is considered too straight and downhill.
article via bbc.com

Earliest Surviving Footage for a Feature Film with a Black Cast to Be Exhibited by Museum of Modern Art

By goodblacknews on September 23, 2014
Footage from what may be the earliest surviving feature film with a black cast, made in 1913. (Credit: Bert Williams, “Lime Kiln Field Day Project”, via Museum of Modern Art)

For decades, the seven reels from 1913 lay unexamined in the film archives of the Museum of Modern Art. Now, after years of research, a historic find has emerged: what MoMA curators say is the earliest surviving footage for a feature film with a black cast. It is a rare visual depiction of middle-class black characters from an era when lynchings and stereotyped black images were commonplace. What’s more, the material features Bert Williams, the first black superstar on Broadway. Williams appears in blackface in the untitled silent film along with a roster of actors from the sparsely documented community of black performers in Harlem on the cusp of the Harlem Renaissance. Remarkably, the reels also capture behind-the-scenes interactions between these performers and the directors.

MoMA plans an exhibition around the work called “100 Years in Post-Production: Resurrecting a Lost Landmark of Black Film History,” which is to open on Oct. 24 and showcase excerpts and still frames. Sixty minutes of restored footage will be shown on Nov. 8 in the museum’s annual To Save and Project festival dedicated to film preservation.

“There are so many things about it that are amazing,” said Jacqueline Stewart, a film scholar at the University of Chicago. “It’s the first time I’ve seen footage from an unreleased film that really gives us insights into the production process.”

She added: “It’s an interracial production, but not in the way scholars have talked about early film history, in which black filmmakers had to rely on the expertise and money of white filmmakers. Here, we see a negotiation between performers and filmmakers.” Of the three directors of the film, one was black and two were white.

"For Colored Girls" 40th Anniversary Commemorated In New York Art Exhibition

By goodblacknews on September 22, 2014

ntozake_shangeCommemorating the 40th anniversary of Ntozake Shange’s groundbreaking choreopoem For Colored Girls is an introspective exhibition, i found god in myself, which is kicking off the fall season at The New York Public Library’s Schomburg Center for Research in Black Culture from Sept. 19 to January 2015.  Her work i found god in myself explores issues of femininity and gender, love and loss, empowerment and sisterhood.

Since its debut performance in California in 1974, Shange’s work has captivated, provoked, inspired and transformed audiences all over the world. Since, the work has remained a cornerstone of feminist, black, and LGBTQ-theory studies in colleges and theaters alike, both in the United States and abroad.
Shange is a past recipient of the The Women of Power Legacy Award, which recognizes outstanding impact, achievement and leadership by women in business, the arts, education, government and other influential industries. Black Enterprise recognized Shange in 2011 for her body of work as a playwright, poet, and self-proclaimed feminist who addressed issues relating to race and gender.
Turning to the choreopoem not simply as an engaging work of text or drama but as a well of social, political and deeply personal issues affecting the lives of women of color, the New York exhibition will feature 20 specially commissioned pieces in honor of each individual poem, additional non-commissioned artworks on display at satellite locations that address the work’s themes and archival material donated by Shange. The exhibition’s title is drawn from one of the last lines recited in the finale poem a laying on of hands. The title suggests that navigating through the complexities of what it means to be of color and female is only enlightened by an understanding, acceptance and appreciation of self. With self-empowerment comes the process of  “…moving to the ends of their own rainbows.”

Bill Cosby to Loan African-American Art Collection to Smithsonian Institution

By goodblacknews on September 16, 2014

Bill Cosby
‘To me, it’s a way for people to see what exists and to give voice to many of these artists who were silenced for so long,’ Cosby said. (Photograph: Rick Cinclair/AP)

After amassing a private collection of African-American art over four decades, Bill Cosby and his wife Camille plan to showcase their holdings for the first time in an exhibition planned at the Smithsonian Institution.

The Smithsonian’s National Museum of African Art announced Monday that the entire Cosby collection will go on view in November in a unique exhibit juxtaposing African-American art with African art.
The collection, which will be loaned to the museum, includes works by such leading African-American artists as Beauford Delaney, Faith Ringgold, Jacob Lawrence, Augusta Savage and Henry Ossawa Tanner. The Cosby collection of more than 300 African American paintings, prints, sculptures and drawings has never been loaned or seen publicly, except for one work of art.
“It’s so important to show art by African-American artists in this exhibition,” Cosby said in a written statement. “To me, it’s a way for people to see what exists and to give voice to many of these artists who were silenced for so long, some of whom will speak no more.”
The exhibit, “Conversations: African and African American Artworks in Dialogue”, will open November 9th and will be on view through early 2016 in Washington. It will be organized by themes, placing pieces from African artists in the Smithsonian collection near similar works from African-American artists in Cosby’s collection. Curators said it will explore ideas about history, creativity, power, identity and artistry.
Some highlights include rare 18th and early 19th-century portraits by Baltimore-based artist Joshua Johnston, explorations of black spirituality in the 1894 piece “The Thankful Poor” by Henry Ossawa Tanner and Cosby family quilts.
“The exhibition will encourage all of us to draw from the creativity that is Africa, to recognize the shared history that inextricably links Africa and the African diaspora and to seek the common threads that weave our stories together,” said museum director Johnnetta Betsch Cole, in announcing the exhibit.
The exhibition of Cosby’s collection is part of the African art museum’s 50th anniversary.
article via theguardian.com

The Black Victorians: Astonishing Portraits Unseen for 120 Years on Exhibit in London Through November

By goodblacknews on September 16, 2014
Member of the African choir
Discovered … Member of the African Choir, London Stereoscopic Company, 1891. (Photograph: Courtesy of © Hulton Archive/Getty Images)

The African Choir were a group of young South African singers that toured Britain between 1891 and 1893. They were formed to raise funds for a Christian school in their home country and performed for Queen Victoria at Osborne House, a royal residence on the Isle of Wight. At some point during their stay, they visited the studio of the London Stereoscopic Company to have group and individual portraits made on plate-glass negatives. That long-lost series of photographs, unseen for 120 years, is the dramatic centrepiece of an illuminating new exhibition called Black Chronicles II.
“The portraits were last shown in the London Illustrated News in 1891,” says Renée Mussai, who has co-curated the show at London’s Rivington Place alongside Mark Sealy MBE, director of Autograph ABP, a foundation that focuses on black cultural identity often through the use of overlooked archives. “The Hulton Archive, where they came from, did not even know they existed until we uncovered them while excavating their archive as part of my PhD project.”
The London Stereoscopic Company specialised in carte de visites – small photographs printed on cards that were often traded by collectors or used by performers for publicity purposes – and, as their name suggests, they were all in stereo which, when seen through a special viewer, gave the illusion of a three-dimensional photograph.
The enlarged portraits of the African Choir, which line one wall of the exhibition, were made by Mike Spry, a specialist in printing from glass plates who was coaxed out of retirement to undertake the meticulous process in his garden shed. They are arresting both for the style and assurance of the sitters – some of the women look like they could be modelling for Vogue – and for the way they challenge the received narrative of the history of black people in Britain.
“Black Chronicles II is part of a wider ongoing project called The Missing Chapter,” says Mussai, “which uses the history of photography to illuminate the missing chapters in British history and culture, especially black history and culture. There is a widespread misconception that black experience in Britain begins with the arrival of the Empire Windrush and the first Jamaican immigrants in 1948, but, as this exhibition shows, there is an incredible archive of images of black people in Britain that goes right back to the invention of photography in the 1830s.”
Near the African choir shots, there is an equally striking portrait of Major Musa Bhai, a Ceylon-born Muslim who was converted to Christianity in colonial India. He accompanied the family of William Booth, founder of theSalvation Army, to England in 1888 as a high-profile advocate for the organisation. As Mussai notes, there “are several intertwining narratives – colonial, cultural and personal – embedded in these images, but what is often startling is how confident and self-contained many of the sitters are as they occupy the frame.”

Sara Forbes Bonetta. Brighton, 1862.
Sara Forbes Bonetta. Brighton, 1862. (Photograph: Courtesy of Paul Frecker collection/The Library of Nineteenth-Century Photography)

Black Chronicles II is punctuated by several such surprising shots, some of well-known people but many of ordinary individuals caught up in the indiscriminate sweep of colonial and postcolonial history. Among the former is Sara Forbes Bonetta, perhaps the most celebrated black British Victorian, who was photographed by two pre-eminent portrait photographers, Camilla Silvy and Julia Margaret Cameron.
Captured aged five by slave raiders in west Africa, Forbes Bonetta was rescued by Captain Frederick E Forbes, then presented as a “gift” to Queen Victoria. Forbes, who rechristened the child after his ship, the Bonetta, later wrote of the proud moment when he realised that Forbes Bonetta “would be a present from the King of the Blacks to the Queen of the Whites.”
More haunting is the portrait of Dejazmatch Alamayou Tewodros, an Ethiopian prince who was orphaned at the age of seven, when his father died rather than surrender to the British troops that had surrounded his castle in what was then Abyssinia. Alamayou was brought to England by Sir Robert Napier and adopted by the intriguingly named explorer Captain Tristram Speedy. Alamayou died in England of pleurisy in 1879.

Serena Williams Becomes 1st Woman to Win U.S. Open 3 Times in a Row, Ties Navratilova and Evert with 18 Grand Slam Titles

By goodblacknews on September 8, 2014
Serena Williams with Martina Navratilova, left, and Chris Evert after Williams’s victory on Sunday. “The sky’s the limit,” Navratilova said of her. (Credit: Michelle V. Agins/The New York Times)

They did the cool thing, the classy thing, by bringing Martina Navratilova and Chris Evert out to embellish, or even to authenticate, the occasion of Serena Williams joining their 18 Grand Slam singles victory club Sunday evening after Williams toyed with Caroline Wozniacki in the United States Open final.

The request was made Saturday, Navratilova would say, after standing with Evert in a corner of the court at Arthur Ashe Stadium, waiting for Mary Carillo to cue them to the presentation of the championship trophy and a shiny bracelet.

Once upon an era, the career-long rivals Navratilova and Evert shared bagels in the locker room before fittingly finishing their careers with the same number of slams. Now it was their turn to hug and welcome into the fold a woman they — and Carillo, the former player and esteemed tennis commentator — didn’t always shower with praise, didn’t always think gave the game the respect it deserved.

Don Cornelius Foundation Kicks Off Suicide Prevention Week With Sept. 7 Event in Los Angeles

By goodblacknews on September 1, 2014

Chicago's 40th Anniversary Soul Train Concert To Honor Don Cornelius
The Don Cornelius Foundation (DCF) is kicking off Suicide Prevention Week themed “I AM THE FACE,” with an afternoon of music and fellowship on Sunday, September 7, 2014 at 3:00 pm at the popular Post & Beam restaurant in Los Angeles, CA.
The DCF is a non-profit organization formed by the family of Donald “Don” C. Cornelius, creator of “Soul Train,” who ended his life by suicide on February 1, 2012. Radio personality Pat Prescott from 94.7 The Wave will host.
Renaissance man Don Cornelius’ entrepreneurial spirit and vast contribution to television, music, the arts and popular culture is unparalleled. The foundation – whose slogan is ‘Life is beautiful, precious and worth living’ – was established to provide awareness, prevention and support for those contemplating suicide and survivors who have lost loved ones to suicide.
Committed to identifying and supporting programs assisting those in transition and in need of healing, DCF has chosen three organizations for initial grants in 2014, namely New Directions for Veterans, National Alliance on Mental Illness (NAMI) Urban LA, and The Los Angeles LGBT Center. These organizations are committed to serving underserved, at-risk communities and to increasing their capacities within the African-American community.
Helmed by Restaurateur Brad Johnson and Chef Govind Armstrong, Post & Beam offers California cuisine with a touch of soul to the surrounding Baldwin Hills neighborhood and beyond. “We’re pleased to be associated with Post & Beam” says Don’s son Tony Cornelius who heads up DCF.
Post & Beam is located at 3767 Santa Rosalia Drive, Los Angeles, CA 90008. Tickets can be purchased online at:
https://www.eventbrite.com/e/i-am-the-face-tickets-12682942021
Information is also available on the website http://thedoncorneliusfoundation.org
Read more at http://www.eurweb.com/2014/08/don-cornelius-foundation-kicks-off-suicide-prevention-week-sept-7/#xSyxe0EbjImfkrOD.99

71 Year-Old Bodybuilder Sam "Sonny" Bryant Jr. Inspires at Health and Fitness Expo

By goodblacknews on August 31, 2014

Screen Shot 2014-08-31 at 2.58.14 PM
Sam “Sonny” Bryant Jr. is a rarity.  He is a champion bodybuilder, and at the ripe old age of 71, he is still going strong.
“I just keep competing,” Bryant said at the I’m The Biggest Winner Family Health & Fitness Expo in Austell, Georgia. “I love it. It’s a lifestyle.”
With a body that puts most men half his age to shame, Bryant’s rippling physique is testimony to years-long hard work and dedicated commitment.
He works out twice a day alongside a full time, overnight job.  “I’ve got a room full of trophies,” said Bryant, who was invited to the Expo as part of a roster of quality experts and motivational speakers. “I can’t even count them all.”
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He first hit the gym to relive the stress of a failing marriage. Within months, Bryant was hooked. Now, he can deadlift 425lbs.  “I’ve been doing this for 27 years,” he said. “I used to do three or four contests a year, and I’d always have at least two trophies when I come home, so I’ve got over 70 or 80 trophies.”
sam-sonny-bryant-bodybuilder-_s87dBryant wants to prove that living a full and active life is possible at any age. All you need is the right approach, he says.  “I don’t think about my age,” said the Georgia native. “You’re going to age, that’s inevitable, but you don’t have to get old. I know people younger than me, but they’re older then me.”
“I can’t see giving up; this is my life. People ask me when I’m going to retire. I’m still working a 40 hours a week job. I say, why should I quit? I’ve figured this stuff out. More people die retired than die working.”
He believes it is never too late to improve your health. Bryant, who said he has never ever taken steroids or performance-enhancing drugs, advises fitness newbies to start off slow and keep doing the work.
“There is no age limit on exercising,” he said. “People got life but they’ve not living. Life is getting out and enjoying yourself. You’ve got to be physical. You’ve got to keep your heart strong.”
“You are not going to jump right in and start out wide open. That’s what happens to most people, they jump right in and think they’re going to look for instant results.”
“Once you start pushing your body, then your body is going to get used to it,” he said. “You just keep doing it, keep doing it, take your time and don’t look for that fast-paced stuff, and I’ll come to you.”
article by Kunbi Tinuoye via thegrio.com

Jackie Robinson West All-Stars Gave Their All in Little League World Series Championship, Celebrated by Hometown Even in Defeat

By goodblacknews on August 25, 2014
Chicago’s Jackie Robinson West All-Stars  (Photo: TWITTER)

The Jackie Robinson West All-Stars are still the pride of Chicago, even after a tough loss to South Korea in the Little League World Series championship game. The Jackie Robinson West team put up a valiant fight, including a late rally in the bottom of the sixth inning, but in the end it was not enough to hold off the mighty bats and dominant pitching performance from the Seoul team, which handed the South Side Chicago sluggers an 8-4 loss.

According to the Associated Press, normal Sunday activities in Chicago were on hold for a few hours while the all-black Jackie Robinson West ballplayers, who “made their first appearance in 31 years in the Little League World Series” and had stolen the nation’s heart on their way to the championship game, took the field.
Several hundred supporters gathered at TV watch stations to root for the team, which, until the final game, had dominated all comers.
AP notes that despite the defeat, several fans gathered at the South Side community center gym and roared and cheered just as if their boys had won.  “They showed what heart they have. The city could not be prouder of them,” Chicago Mayor Rahm Emanuel told AP.
Jackie Robinson West’s run was a nice break for an area that has been ravished by poverty and violence.
“I have never seen the community come together like this,” Eldridge Dockery, 44, told AP. “We’re usually behind our walls or gates—but this team brought us out, talking and celebrating together.”
According to news station WGN-TV, a parade is planned for the team on Wednesday.
Read more at the Associated Press and WGN-TV.

Dave Chappelle Surprises at Hartford's 2014 Oddball Comedy Festival, Wins over Formerly Hostile Crowd

By goodblacknews on August 25, 2014
Dave Chappelle at 2014 Oddball and Curiosity Comedy Festival
Dave Chappelle at 2014 Oddball Comedy and Curiosity Festival

HARTFORD — One year after he bombed in one of the most notoriously disastrous stand-up sets in memory, Dave Chappelle made a surprise return here — and no one seemed more surprised than he.

“I didn’t think I’d ever come back to Hartford,” he said on Saturday, closing out a star-studded Oddball Comedy and Curiosity Festival show that was the biggest blockbuster in stand-up this summer.

After being roundly booed and heckled in 2013, Mr. Chappelle had promised that he would never return to Hartford, “not even for gas.” He also joked that if North Korea were to drop a nuclear bomb on the United States, he hoped it would fall on Hartford. He did not retract his criticism (“It was your fault,” he reminded the crowd), but on the day before his 41st birthday, he struck conciliatory notes. “I was really immature,” he conceded, before apologizing for making T-shirts that cursed the city.

The crowd embraced him without restraint, roaring when he appeared onstage, laughing throughout his set and remaining carefully quiet in between jokes. Mr. Chappelle, dressed in a long black dress shirt and smoking a cigarette, said that doing so poorly was hard on him. Then he confessed that he had not prepared anything for this show. “I figured showing up is funny enough.”

The warm show was in a stark contrast to last year’s Oddball performance, which began boisterous, turned contentious and ended with him running out his allotted time by, among other things, reading a book aloud onstage. Media accounts situated the show as part of a pattern of mercurial behavior, including his quitting his hit show on Comedy Central. Some described the evening as a meltdown, others as a crowd run amok.

As Mr. Chappelle has deftly done before, he turned bad press to his advantage, using it for comedy, starting with his next show in Chicago, where he described the Hartford crowd as “evil.” The jokes must have stung, since they earned a response from the mayor of Hartford, Pedro Segarra, who tweeted, “Dave Chappelle needs to quit whining, do his job and try some yoga.”

Mr. Chappelle’s return capped a dynamite night of stand-up comedy featuring a murderers’ row of comics, including Sarah Silverman, Hannibal Buress, Dave Attell, Amy Schumer, Aziz Ansari and Louis C.K. In a nice bit of suspense-generating stagecraft, Louis C.K., the final act on the bill, finished his set, started walking offstage, only to stop, return to the microphone and dramatically tell everyone to stay, before introducing Mr. Chappelle.

Last year’s Hartford show was so infamous that at several points, jokes by comics evoked the controversy. When after Mr. Ansari made his entrance and thanked the crowd, he made a joke demanding to know whether the audience would finally be quiet and let him speak.

Louis C.K. made an even more pointed jab by opening his set by saying of Hartford, “Nice area,” then making a wry face. The large screens picked up his smile and raised eyebrows when he held onto the moment, extending the pause, and repeating sarcastically, “Really nice.” With a new set dense with jokes, Louis C.K. was in peak form, returning to bread-and-butter subjects like raising two kids and also mining humor through some of the most unpredictable punch lines in comedy. After a setup about trying to answer the question of why babies always cry on planes, he concluded, “They are upset about gay marriage.”

Mr. Chappelle made a callback to this joke in a bit he does about Chaz Bono. While Mr. Chappelle comes off as the absent-minded enigma, he has a showman’s sense of event honed over a lifetime of performing. (He did his first stand-up set in Washington at the age of 14.) But on this night, he also seemed genuinely moved by the response.

“Are you sure this is Hartford?” Mr. Chappelle asked toward the end. Then, not much later, looking pleased and a little mischievous, he pointed to the front rows and said, “There’s someone giving me the middle finger.”

article by Jason Zinoman via nytimes.com