article by Maeve McDermott via usatoday.com
Before last year, Kennedy Center hosting hip hop shows seemed like an unlikely prospect.
But after hosting Kendrick Lamar’s sold-out performance with the National Symphony Orchestra last year, the center’s 2016 season includes its first hip hop culture series, bringing on rapper and producer Q-Tip as their first artistic director of hip hop.
The social justice-oriented rapper is best known as a founding member of the seminal hip hop group A Tribe Called Quest, and has worked with many of music’s biggest names, including Kanye West, Kendrick Lamar, the Beastie Boys, Janet Jackson, Mary J. Blige and Pharrell Williams.
The Kennedy Center, which celebrates John F. Kennedy’s 100th birthday this year, announced details of six events celebrating different facets of hip hop culture, including a poetry slam, a teach-in and a dance competition. Cellist Yo-Yo Ma and soprano Renee Fleming were also appointed at-large artistic advisers for the 2016-2017 season, according to the AP.
“This new programmatic platform recognizes Hip Hop’s contributions to global culture and its role in promoting values such as courage, freedom, justice, and service,” the center announced in a release.
To read more, go to: http://www.usatoday.com/story/life/music/2016/03/08/q-tip-named-kennedy-center-first-hip-hop-director/81485882/
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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.
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.”
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.
She was also the subject of a documentary, Nelson George’s A 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.
“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.”
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 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.”
To read more go to: http://www.harpersbazaar.com/culture/art-books-music/a14055/misty-copeland-degas-0316/?mag=har&list=nl_hnl_news&src=nl&date=021016
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/
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.