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Stephanie G. Adams Earns American Society for Engineering Education’s Harriet Tubman Award for 2018

By goodblacknews on July 10, 2018
Stephanie Adams (photo via blackengineer.com)

by Lango Deen via blackengineer.com

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.

An honor graduate of North Carolina A&T State University, where she earned her bachelor’s degree in mechanical engineering, Adams, 52, was selected as president-elect of the 12,000-member ASEE this March. She is committed to advancing women in academic engineering during her term in 2018-19.

“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.

Read More: http://www.blackengineer.com/news/stephanie-g-adams-earns-2018-harriet-tubman-award/

MUSIC: New Artists The Shindellas Bring Retro ’60s Feel to Self-Empowerment with “Reconsider” (VIDEO)

By goodblacknews on July 2, 2018

by Lori Lakin Hutcherson (@lakinhutcherson)

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.

Democratic National Committee Launches “Seat At The Table” Tour, a New Black Women Outreach Initiative

By goodblacknews on July 2, 2018
Two women hold signs reading “Vote Baby Vote” and “Voting is People Power,” c. 1970. (Photo by Gabriel Hackett /Getty Images)

by Ashley Alese Edwards via refinery29.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.

Source: https://www.refinery29.com/dnc-seat-at-the-table-black-women-initiative

NASA Mathematician Katherine Johnson to Be Honored by West Virginia State University With Bronze Statue and Scholarship

By goodblacknews on June 5, 2018

(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

Oprah Winfrey to be Honored by The National Museum of African American History and Culture With Exclusive Exhibit Opening Friday

By goodblacknews on June 4, 2018

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.”

PHOTOGRAPHY: African American Collective Kamoinge Opens "Black Women: Power and Grace" Exhibit in New York

By goodblacknews on May 31, 2018
Church ladies. New York, 2005.(Credit: Jamel Shabazz)

by Antwaun Sargent via nytimes.com

More than half a century after the groundbreaking exhibit “The Negro Woman,” the image announcing the show by the African-American collective Kamoinge still captivates. Taken by Louis Draper, who had a keen sense of light and shadow, the photograph shows an older black woman standing on a busy Harlem street corner. In the crowd, her face is finely in focus. She is tired, gazing off into the distance, as she waits, with serious dignity and grace.

It was an everyday scene that in its own way was extraordinary. Led by the astute chronicler of Harlem life, Roy DeCarava, the show aimed to reclaim the beauty of the African-American woman. Kamoinge’s group exhibition was among the first to carefully and radically picture the black woman’s elegance and pride.

“Nothing like that had been done in the community before,” said Adger Cowans, the president and a co-founder of Kamoinge. “The black woman has been underrepresented. Here we are today and we are still looking at black women negatively. We wanted to show their beauty and power.”

Khadija. New York, 1998. (Credit: John Pinderhughes)

Decades after “The Negro Woman,” that same motivation has inspired Kamoinge’s new exhibit, “Black Women: Power and Grace,” at the National Arts Club in New York from May 28 to June 30. “With this exhibition we are showing our love and appreciation to our mothers, wives and sisters,” said Russell Frederick, a co-organizer of the exhibition and Kamoinge’s vice president. “I think black women, who have mostly been objectified in the media, have actually made a major mark on society that really can’t be quantified but has gone unrecognized.”

“What Do They Call Me, My Name Is Aunt Sara.” Self-portrait.(Credit: Delphine Fawundu)
Women of New York. 2017. (Credit: Delphine Diallo)

The show includes several intimate portraits by Mr. Russell that examine traditional notions of beauty and Anthony Barboza’s images of black models, like a bald and beautiful Pat Evans, that affirm them. Among the show’s earliest works is Mr. Cowan’s “Untitled (Betty Shabazz).” Taken in 1965, the black-and-white picture shows Ms. Shabazz coming out the back of a Harlem church where the funeral service for her husband Malcolm X had been held. In an indelible image of strength and loss, Ms. Shabazz’s face is veiled in black lace as a single tear rolls down her cheek.

“That picture meant something to me because my whole universe stood still,” said Mr. Cowan, 81. “It was very emotional for me, she was as big in my eyes as Malcolm. It was important for people to see this image because this woman carried the weight of the world on her shoulders and you can see it on her face.”

Since 2016, the photo collective, founded in 1963, has made an effort to expand ranks — historically dominated by male photographers — with younger, female artists. The group’s new black female members, including the French-Senegalese portraitist Delphine Diallo, join a small company of women like Ming Smith, the first black woman photographer to have her work collected by the Museum of Modern Art.

Betty Shabazz at the funeral for her husband, Malcom X. Harlem, N.Y., 1965. (Credit: Adger Cowans)

“Black Women: Power and Grace” also features other female newcomers. Lola Flash has two pictures that bring visibility to the black lesbian community; a 2010 Delphine Fawundu self portrait, “What Do They Call Me, My Name Is Aunt Sara,” challenges us to rethink the names we call black women; and Laylah Amatullah Barrayn’s images explore spiritual practice in Senegal.

“I’ve been watching Kamoinge for most of my career and I’ve seen its growth,” Ms. Barrayn said. “I always felt being a part of Kamoinge was so far-fetched because there weren’t many women in the group.”

Kamoinge’s mission-oriented pictures are populated with individual narratives that have long come together to shape the complex diversity of black women.

“The challenge is to see her differently,” Mr. Frederick said. “We really embrace today’s black woman, who she is and even those who came before her like Maya Angelou, Maxine Waters and Dionne Warwick, who are all holding hands in Eli Reed’s picture.

“Black women have broken barriers, been torch bearers and pioneers,” Mr. Frederick continued. “And at the same time, they have always looked out for all of us in the neighborhood, taking us to church, making Sunday dinner and always having our back.”

For more: https://www.nytimes.com/2018/05/29/lens/celebrating-the-grace-of-black-women.html?partner=rss&emc=rss

She’s Back! Serena Williams Wins Her 1st Grand Slam Match Since Having a Baby, at the 2018 French Open

By goodblacknews on May 29, 2018
PARIS, FRANCE – MAY 29: Serena Williams of USA celebrates her first round victory during Day Three of the 2018 French Open at Roland Garros on May 29, 2018 in Paris, France. (Photo by Jean Catuffe/Getty Images)

by Britni Danielle via essence.com

Although Serena Williams might just be the greatest tennis player of all time, she still has something to prove.
After giving birth to her first daughter, Alexis Olympia Ohanian Jr., last September, Williams’ climb back to the top has been tough. The tennis champ won her first match back on the court in March at Indian Wells but was sent home by her sister, Venus. Later that month, Williams suffered a first-round defeat at the Miami Open, however, she’s been putting in work to reclaim her crown.

On Monday, Williams kicked off the French Open with a win, defeating the Czech Republic’s Kristyna Pliskova in straight sets.
After the match, Williams praised her opponent. “She played really really well,” Williams said before turning her attention to her comeback. “It’s been two years since I played on clay. It’s been a really long time but I trained really hard on the clay.”
Williams is no stranger to the French Open and has won the Grand Slam tournament three times: in 2002, 2013, and 2015. Still, she said she’s not taking anything for granted. “I feel good. I’m just happy to have won a match here,” Williams said. “I’m just taking it a day at a time.”
Williams, who donned a fabulous all-black catsuit for her return to the Grand Slam stage, said the form-fitting choice was a shout out to “all the moms out there that had a tough pregnancy and had to come back and try to be fierce.”
Source: https://www.essence.com/celebrity/serena-williams-wins-first-grand-slam-since-baby

Ms Geek Africa Competition Rewards Women's Brains Instead of their Beauty

Ms Geek Africa Competition Rewards Women's Brains Instead of their Beauty

By goodblacknews on May 28, 2018

Niger’s Salissou Hassane Latifa was crowned the 2018 Miss Geek Africa for her innovative new app that promises to help accident victims. (Courtesy of YouTube)

via theguardian.com
After years of women in evening gowns vying for the title of national beauty queen, glamour is giving way to geekery in Rwanda. A group of female tech entrepreneurs decided it was time to ditch Miss Rwanda for a different kind of competition, one that judged women on brilliance rather than beauty. It was time for Ms Geek.
The first Ms Geek Rwanda was crowned in 2014, and the competition has since expanded to include other African countries under the unifying banner of Ms Geek Africa. The event, open to girls and women aged 13 to 25, encourages contestants to use technology to solve everyday problems in their communities. The finalists receive business training and the winner is awarded financial backing to help realise her idea.
This year’s Ms Geek Africa is Salissou Hassane Latifa, 21, from Niger. Her winning design is the Saro app, which helps communication between people caring for accident victims and the emergency services, and allows medical staff to advise on basic first aid before they arrive at the scene.

“Ms Geek has already changed the perception of what girls can do,” says Esther Kunda of the Next Einstein Forum, a founding member of competition organiser Girls in ICT Rwanda.

Salissou Hassane Latifa, the latest Ms Geek Africa winner, has devised an app that promises to help accident victims. (Photograph Courtesy Kigali Today)

The contest was set up as part of a nationwide effort to transform Rwanda from a small agricultural economy into an engine of technological innovation, with women and girls at the forefront of the revolution.
The government has set a target of achieving gender parity in the information communications technology sector by 2020, an ambitious goal in a worldwide industry notorious for its lack of diversity. But through educational campaigns, scholarships and mentorship programmes, Rwanda is determined to become a global leader for women in ICT. “It’s a good place to be a woman in tech right now,” Kunda says of Rwanda.
Before the genocide of 1994, it was uncommon for women in Rwanda to own land, receive a formal education or hold jobs outside of the home. After the atrocity, the country’s surviving population was 60-70% female, according to contemporary accounts.
President Paul Kagame, who has led Rwanda with an iron fist since 2000, realised that advancing women was the only way forward and has championed their rights ever since.
Rwanda now leads the world in female representation in parliament, due in part to a quota system that reserves seats for women. Gender rights are enshrined in the national constitution and laws were changed to give women the right to inherit land and obtain credit.
As a child, Rosine Mwiseneza, who was orphaned during the genocide, recalls watching the women around her stepping into leadership roles in government and civil society. They became police officers, accountants, butchers, shop owners. Girls went to school and competed alongside boys for internships and scholarships.
Mwiseneza was studying business management at Kepler University in Kigali when she entered the Ms Geek contest in 2016. Her idea was for an automated irrigation system that would help farmers cultivate their fields year-round as opposed to just during the rainy season.
Mwiseneza says she was astounded when she won the competition. In that moment, she remembered her parents and all the hardships she had endured. “It was very difficult to believe,” she says. “I started thinking of everything that had passed before that day and I began to cry.”
To read more: https://www.theguardian.com/global-development/2018/may/28/brilliance-overtakes-beauty-ms-geek-africa-spotlights-tech-genius-salissou-hassane-latifa

ART: New Exhibit in Chicago Gives Charles White’s Work and Activism the Attention They Deserve

By goodblacknews on May 27, 2018

“Love Letter III” by Charles White (via smithsonianmag.com)

by Amy Crawford via smithsonianmag.com
Born in Chicago in 1918, the artist Charles White always received inspiration from the struggles and triumphs of black people—major historical figures like Frederick Douglass as well as ordinary people like his own mother, who worked as a maid her whole life.
“Our Land” 1951 by Charles White

It was White’s mother who bought him his first box of paints, when he was 7 years old. He would go on to earn a scholarship to the Art Institute of Chicago, where a major retrospective of his work opens this month.
Among the pieces on display is the 1977 lithograph Love Letter III, which pairs a Madonna-like figure with a motif White often used to represent feminine life-giving and creativity: a conch shell.
A book on his work, Charles White: A Retrospective by Sarah Kelly Oehler and Esther Adler, will be available on June 19, 2018.
Read more: https://www.smithsonianmag.com/arts-culture/new-exhibit-gives-charles-whites-art-activism-attention-they-deserve-180969007/#63kFiDTHT4RgRBZj.99

"Betty: They Say I’m Different" Documentary About Funk Music Pioneer Betty Davis to Premiere at Red Bull Music Festival in NY

By goodblacknews on May 22, 2018
The trailblazing funk singer, bandleader and producer Betty Davis dropped out of public for decades. A new documentary, “Betty: They Say I’m Different,” tells her story. (Credit: Robert Brenner)

by Jon Pareles via nytimes.com

For a few short years in the 1970s, no one made funk as raw as Betty Davis did. She sang bluntly about sex on her own terms, demanding satisfaction with feral yowls and rasps, her voice slicing across the grooves that she wrote and honed as her own bandleader and producer. Her stage clothes were shiny, skimpy, futuristic fantasies; her Afro was formidable.

A major label, Island, geared up a big national push for her third album, “Nasty Gal,” in 1975. But mainstream radio didn’t embrace her, and Island rejected her follow-up recordings. Not long afterward, she completely dropped out of public view for decades.

Ms. Davis’s voice now — speaking, not singing — resurfaces in “Betty: They Say I’m Different,” an impressionistic documentary that will have its United States theatrical premiere on Wednesday at the Billie Holiday Theater in Bedford-Stuyvesant, Brooklyn, as part of the Red Bull Music Festival. The film includes glimpses of virtually the only known concert footage of Ms. Davis in her lascivious, head-turning prime, performing at a 1976 French rock festival. The present-day Ms. Davis is shown mostly from behind and heard in voice-over, though there is one poignant close-up of her face.

This month Ms. Davis, 72, gave a rare interview by telephone from her home near Pittsburgh to talk about the film and her music. After years of entreaties from and conversations with its director, Phil Cox, and producer, Damon Smith, she agreed to cooperate on “Betty: They Say I’m Different” because, she said, “I figured it would be better to have them cover me when I was alive than when I was dead.”

Mr. Cox said, via Skype from England, “Betty doesn’t want sympathy, and she’s found her own space now. To me, that is just as interesting as that woman she was in the 1970s. It’s the antithesis of the age we live in, where everybody wants to be on social media all the time.”

Ms. Davis has longtime fans from the ’70s and newer ones who have discovered her in reissues and through hip-hop samples. They have clung to a catalog and a persona that were musically bold, verbally shocking and entirely self-created. Long before the current era of explicit lyrics, Ms. Davis was cackling through songs like “Nasty Gal” — “You said I love you every way but your way/And my way was too dirty for you” — and “He Was a Big Freak,” which boasts, “I used to whip him/I used to beat him/Oh, he used to dig it.” She still won’t reveal who was, or whether there was, a real-life model for songs like those.

https://youtu.be/EtInpDRchM0

“I wrote about love, really, and all the levels of love,” she said. That emphatically included sexuality. “When I was writing about it, nobody was writing about it. But now everybody’s writing about it. It’s like a cliché.”

Ms. Davis was born Betty Mabry in Durham, North Carolina, in 1945, and she grew up there and in Pittsburgh. She headed to New York City in the early 1960s, when she was 17, and enrolled at the Fashion Institute of Technology. She supported herself as a model and a club manager; she reveled in the city’s night life, meeting figures like Andy Warhol, Sly Stone, Eric Clapton and Jimi Hendrix.