Before friends and family in a packed chamber, Kamala Harris was sworn in as California’s newest U.S. senator Tuesday morning. She became the first black woman the Golden State has sent to the Senate and the first Indian American to ever serve in the body.
Harris, 52, a Democrat from Los Angeles, was sworn in by Vice President Joe Biden shortly after 9 a.m. PT as Sen. Dianne Feinstein (D-Calif.) and her new Senate colleagues looked on. Harris’ husband, Los Angeles attorney Doug Emhoff, her stepchildren, brother-in-law Tony West, sister Maya Harris, extended family as well as several state officials from across the country who traveled to celebrate with the now former state attorney general watched from the gallery.
“Whatever advice she wants, all she has to do is ask,” Feinstein said. “I have said to her that I would like to have a close relationship.”
Feinstein and Harris met repeatedly in the weeks since the election, with Feinstein sharing advice on how to set up the largest Senate office in the country, including how to deal with the up to 100,000 emails, letters and phone calls that can come into a California senator’s office in a given week.
Harris, one of seven new senators, replaces Democratic Sen. Barbara Boxer, who retired after 24 years in the Senate.
To read full article, go to: Kamala Harris sworn in as first Indian American senator and California’s first black senator – LA Times
Posts published in “African-American Firsts”
article via shadowandact.com
After a theatrical run in USA theaters that kicked off in late August, the documentary “Floyd Norman – An Animated Life” – an intimate journey through the celebrated life and career of the legendary animator Floyd Norman, the first African American animator at Disney – is now streaming on Netflix.
Directed by Michael Fiore and Erik Sharkey, the crowd-pleaser recently won the award for Best documentary at the 2016 San Diego Comic-Con. Born in 1935 in Santa Barbara, Norman’s love of animation first came when his mother took him to see Disney’s “Bambi” and “Dumbo.” By the time he was a high schooler, he knew his goal was to be an animator at Disney Studios. After graduation, with the help of a friend, Norman got an appointment at Disney and he walked into Disney Studios, portfolio in hand, for an interview. But instead of getting a job, he was told to go to school, which Norman said later was the best advice anyone had ever given him. He entered the Art Center College of Design and two years later, got a call to go work for Disney. He dropped out of school and started working at the studio the following Monday.
https://youtu.be/eHONDbMyhcc
He worked on various features including “Sleeping Beauty,” “The Sword in the Stone,” “The Jungle Book,” and several short subjects. He left Disney after Walt Disney died in 1966, and, with Ron Sullivan, formed AfroKids Animation Studio. Among the other properties they created was the first “Fat Albert” television special which aired in 1969 on NBC (the later more well-known Fat Albert TV series was made by Filmation Associates, not AfroKids). But starting in the early 1970s, Norman returned to Disney to work on projects like “Robin Hood.”
To read more, go to: Award-Winning New Doc on Floyd Norman, 1st Black Animator to Work for Disney, Now Streaming on Netflix – Shadow and Act
article by Debra Birnbaum via Variety.com
There’s a new head of the Television Academy — for the first time in five years.
Hayma “Screech” Washington has been elected chairman of the Television Academy, replacing longtime chair Bruce Rosenblum. Rosenblum had held the role since 2011, having extended his term in July 2015 during the Academy’s recent $40 million fundraising campaign. Existing officers and governors are normally limited to two consecutive two-year terms, but the rules were changed given the construction of the recently opened Saban Media Center and Wolf Theatre on the Academy’s campus in North Hollywood, California.
The Academy is best-known for handing out the annual Emmy Awards in September.
Washington was elected to the chairman role, an unpaid position, during a meeting of the Academy’s board of governors Thursday night. He will serve a two-year term.
The first African-American chair in the organization’s history, Washington has served as a governor in the producers branch for the last five years. Washington, who runs his own production company banner, Screechers Pix, was an executive producer for CBS’ “Amazing Race,” which earned him seven Emmy Awards, along with a Producers Guild Award. He’s also worked for Walt Disney Studios, Buena Vista Domestic and International Productions, and Don Ohlmeyer Communications Company. His producing credits include the 39th Emmy Awards, the MTV Video Music Awards and the ESPYs.
“I am honored to have been selected to lead the Academy and look forward to serving our membership alongside the governors, executive committee, Foundation and staff,” said Washington. “This is a time of considerable change for our industry and I am deeply committed to ensuring that the Academy is at the forefront as we move towards a more inclusive future.”
To read more, go to: http://variety.com/2016/tv/news/tk-chairman-television-academy-1201920062/
The Academy is best-known for handing out the annual Emmy Awards in September.
Washington was elected to the chairman role, an unpaid position, during a meeting of the Academy’s board of governors Thursday night. He will serve a two-year term.
The first African-American chair in the organization’s history, Washington has served as a governor in the producers branch for the last five years. Washington, who runs his own production company banner, Screechers Pix, was an executive producer for CBS’ “Amazing Race,” which earned him seven Emmy Awards, along with a Producers Guild Award. He’s also worked for Walt Disney Studios, Buena Vista Domestic and International Productions, and Don Ohlmeyer Communications Company. His producing credits include the 39th Emmy Awards, the MTV Video Music Awards and the ESPYs.
“I am honored to have been selected to lead the Academy and look forward to serving our membership alongside the governors, executive committee, Foundation and staff,” said Washington. “This is a time of considerable change for our industry and I am deeply committed to ensuring that the Academy is at the forefront as we move towards a more inclusive future.”
To read more, go to: http://variety.com/2016/tv/news/tk-chairman-television-academy-1201920062/
article by Liz Teitz via houstonchronicle.com
BEAUMONT – While history was being made with the election of Donald Trump as president, Zena Stephens was making a little of her own in Southeast Texas by becoming the state’s first black female sheriff.
And it took three elections to do it.
In the March primary, Stephens knocked out the incumbent sheriff’s chief deputy, who was the favorite of law enforcement and had significantly outraised Stephens. In May, she bested an African-American constable in a runoff. Then on Tuesday she narrowly defeated a 39-year retired Beaumont police lieutenant to become sheriff of Jefferson County.
According to the Sheriffs’ Association of Texas, which tracks the history of the office, Stephens is the first black woman elected sheriff in the state.
After her victory, she acknowledged the significance of her success.
“I think it is important, because I never saw anybody who looked like me in this role, or as a police chief, when I was growing up,” said Stephens. “And so the idea, not just for girls but for any minority, that you can obtain these jobs at this level, I think that’s important. And it’s important for these jobs in law enforcement and any job to reflect the community they serve.”
To read full article, go to: http://www.houstonchronicle.com/news/houston-texas/houston/article/Jefferson-County-elects-Texas-first-black-female-10605106.php
article by Genetta M. Adams via theroot.com
Even though Tuesday night didn’t give us the history-making moment we were all expecting, for Stockton City, Calif., Councilman Michael Tubbs, election night was doubly historic. Not only did he become the city’s first black mayor, but he also becomes the youngest mayor in the city’s history, according to the Stockton Record.
“I’m tired of talking about where we’ve been. I’m more interested in talking about where we’re going. We have to mature as a community and start demanding solutions,” Tubbs told the audience at his victory party Tuesday night.
Tubbs defeated embattled incumbent Anthony Silva, 41, who recently became embroiled in scandal after he was arrested at his youth camp and accused of giving alcohol to minors and recording them playing strip poker.
Tubbs, a Stanford grad who interned at Google and the White House, decided to go back to his hometown to help make a difference after his cousin was killed at a Halloween party in 2010, according to Complex. For the past three years, he’s served on the City Council, working to bring health clinics to his district and improve the relationship between the community and the police.
To read more, go to: http://www.theroot.com/articles/news/2016/11/26-year-old-becomes-stockton-calif-s-first-black-mayor/
article by Alexandra Alter via nytimes.com
Paul Beatty’s novel “The Sellout,” a blistering satire about race in America, won the Man Booker Prize on Tuesday, marking the first time an American writer has won the award.
The five Booker judges, who were unanimous in their decision, cited the novel’s inventive comic approach to the thorny issues of racial identity and injustice.
With its outrageous premise and unabashed skewering of racial stereotypes, “The Sellout” is an audacious choice for the judges, who oversee one of the most prestigious awards in literature.
“The truth is rarely pretty, and this is a book that nails the reader to the cross with cheerful abandon,” Amanda Foreman, the head of the judging panel, said at a press briefing in London before the winner was announced. “It plunges into the heart of contemporary American society.”
At a ceremony in London, Mr. Beatty said that writing “The Sellout” had taken an emotional toll.
“It was a hard book for me to write; I know it’s hard to read,” he said. “I’m just trying to create space for myself. And hopefully that can create space for others.”
A raucous tragicomedy that explores the legacy of slavery and racial and economic inequality in America, the novel felt deeply resonant at a moment when police violence against African-Americans has incited protests around the country and forced Americans to confront the country’s history of racism.
In a review in The New York Times, Dwight Garner wrote that the novel’s first 100 pages read like “the most concussive monologues and interviews of Chris Rock, Richard Pryor and Dave Chappelle wrapped in a satirical yet surprisingly delicate literary and historical sensibility.”
To read full article, go to: http://www.nytimes.com/2016/10/26/business/media/paul-beatty-wins-man-booker-prize-with-the-sellout.html?_r=0
article via thegrio.com
On Thursday, Yale University will honor its first black student by naming a divinity school classroom after him. James W.C. Pennington escaped from slavery to Maryland in 1837. At the time, it was illegal to educate African-Americans from other states, but Pennington was allowed to attend classes as long as he didn’t speak, use the library or earn a degree.
Divinity school graduate Lecia Allman led the push to honor Pennington, who later in life formed an organization to help former slaves receive their education.
Divinity School Dean Gregory Sterling said of the decision to rename the classroom that it “recovers part of our past that has been neglected.”
https://youtu.be/uCNs9ZlquTM
In anticipation of its opening on September 24, the National Museum of African American History and Culture has launched a one-day giving campaign today, September 13th, to celebrate this momentous milestone for our nation and the African American community and to help ensure our future for all who follow.
We at GBN donated and signed up to aid this Giving Day effort, and will be posting and tweeting intermittently to help raise awareness and donations for NMAAHC. If you’d also like to go beyond donating, you too can sign up to become a Giving Day Champion in celebration of a museum that tells a more complete story of America.
Simply click the link above to join and reach out to your network of friends and share the story of this amazing Museum. NMAAHC provides all the tools you need to spread the word about the Museum and this giving opportunity.
Thank you and let’s continue to share this amazing story of the African American experience with our nation and the world for generations to come.
To donate now, click here: https://givenmaahc.org/?utm_source=nmaahc.linkfast.com_donate_button&utm_medium=referral&utm_campaign=giveNMAAHC_2016_SF
article by Graham Bowley via nytimes.com
Eleven years ago, Lonnie G. Bunch III was a museum director with no museum. No land. No building. Not even a collection.
He had been appointed to lead the nascent National Museum of African American History and Culture. The concept had survived a bruising, racially charged congressional battle that stretched back decades and finally ended in 2003 when President George W. Bush authorized a national museum dedicated to the African-American experience.
Now all Mr. Bunch and a team of colleagues had to do was find an unprecedented number of private donors willing to finance a public museum. They had to secure hundreds of millions of additional dollars from a Congress, Republican controlled, that had long fought the project.
And they had to counter efforts to locate the museum not at the center of Washington’s cultural landscape on the National Mall, but several blocks offstage. “I knew it was going to be hard, but not how hard it was going to be,” Mr. Bunch, 63, said in an interview last month.
In less than three weeks, though, with President Obama presiding, the new museum, a project that once thirsted for money, land and political support, is scheduled to open on the Mall.
Visitors to the $540 million building, designed to resemble a three-tiered crown, will encounter the sweeping history of black America from the Middle Passage of slavery to the achievements and complexities of modern black life.
But also compelling is the story of how the museum itself came to be through a combination of negotiation, diplomacy, persistence and cunning political instincts. The strategy included an approach that framed the museum as an institution for all Americans, one that depicted the black experience, as Mr. Bunch often puts it, as “the quintessential American story” of measured progress and remarkable achievement after an ugly period of painful oppression.
The tactics included the appointment of Republicans like Laura Bush and Colin L. Powell to the museum’s board to broaden bipartisan support beyond Democratic constituencies, and there were critical efforts to shape the thinking of essential political leaders.
Long before its building was complete, for example, the museum staged exhibitions off-site, some on the fraught topics it would confront, such as Thomas Jefferson’s deep involvement with slavery. A Virginia delegation of congressional members was brought through for an early tour of the Jefferson exhibition, which featured a statue of him in front of a semicircular wall marked with 612 names of people he had owned. “I remember being very impacted,” said Eric Cantor, then the House Republican leader, who was part of the delegation.
Mr. Bunch said that he hoped the Jefferson exhibition pre-empted criticism by establishing the museum’s bold but balanced approach to difficult material. “Some people were like, ‘How dare you equate Jefferson with slavery,’” he recalled. “But it means that people are going to say, ‘Of course, that is what they have to do.’”
And the museum began an exceptional effort to raise money from black donors, not only celebrities, like Michael Jordan ($5 million) and Oprah Winfrey ($12 million), but also churches, sororities and fraternities, which, Mr. Bunch said, had never been asked for big donations before.
article by Charles Bolden via vanityfair.com
When I was growing up, in segregated South Carolina, African-American role models in national life were few and far between. Later, when my fellow flight students and I, in training at the Naval Air Station in Meridian, Mississippi, clustered around a small television watching the Apollo 11 moon landing, little did I know that one of the key figures responsible for its success was an unassuming black woman from West Virginia: Katherine Johnson.
Hidden Figures is both an upcoming book and an upcoming movie about her incredible life, and, as the title suggests, Katherine worked behind the scenes but with incredible impact. When Katherine began at NASA, she and her cohorts were known as “human computers,” and if you talk to her or read quotes from throughout her long career, you can see that precision, that humming mind, constantly at work. She is a human computer, indeed, but one with a quick wit, a quiet ambition, and a confidence in her talents that rose above her era and her surroundings.
“In math, you’re either right or you’re wrong,” she said. Her succinct words belie a deep curiosity about the world and dedication to her discipline, despite the prejudices of her time against both women and African-Americans. It was her duty to calculate orbital trajectories and flight times relative to the position of the moon—you know, simple things. In this day and age, when we increasingly rely on technology, it’s hard to believe that John Glenn himself tasked Katherine to double-check the results of the computer calculations before his historic orbital flight, the first by an American. The numbers of the human computer and the machine matched.
To read full article, go to: Katherine Johnson, the NASA Mathematician Who Advanced Human Rights with a Slide Rule and Pencil | Vanity Fair