NASA announced Wednesday the agency’s headquarters building in Washington, D.C., will be named after Mary W. Jackson, the first African American female engineer at NASA.
Jackson started her NASA career in the segregated West Area Computing Unit of the agency’s Langley Research Center in Hampton, Virginia.
Jackson, a mathematician and aerospace engineer, went on to lead programs influencing the hiring and promotion of women in NASA’s science, technology, engineering, and mathematics careers. In 2019, she was posthumously awarded the Congressional Gold Medal.
“Mary W. Jackson was part of a group of very important women who helped NASA succeed in getting American astronauts into space. Mary never accepted the status quo, she helped break barriers and open opportunities for African Americans and women in the field of engineering and technology,” said NASA Administrator Jim Bridenstine.
“Today, we proudly announce the Mary W. Jackson NASA Headquarters building. It appropriately sits on ‘Hidden Figures Way,’ a reminder that Mary is one of many incredible and talented professionals in NASA’s history who contributed to this agency’s success. Hidden no more, we will continue to recognize the contributions of women, African Americans, and people of all backgrounds who have made NASA’s successful history of exploration possible.”
Mary W. Jackson NASA Headquarters building in Washington, D.C (Credit: NASA)
“We are honored that NASA continues to celebrate the legacy of our mother and grandmother Mary W. Jackson,” said, Carolyn Lewis, Mary’s daughter. “She was a scientist, humanitarian, wife, mother, and trailblazer who paved the way for thousands of others to succeed, not only at NASA, but throughout this nation.”
Today Good Black News wants to share the excellent online resources the National Museum of African American History and Culture has that explain and explore the legacy of Juneteenth, which is now in its 155th year. Click here for more and read below for an historical overview of Juneteenth:
On “Freedom’s Eve,” or the eve of January 1, 1863, the first Watch Night services took place. On that night, enslaved and free African Americans gathered in churches and private homes all across the country awaiting news that the Emancipation Proclamation had taken effect.
At the stroke of midnight, prayers were answered as all enslaved people in Confederate States were declared legally free. Union soldiers, many of whom were black, marched onto plantations and across cities in the south reading small copies of the Emancipation Proclamation spreading the news of freedom in Confederate States. Only through the Thirteenth Amendment did emancipation end slavery throughout the United States.
But not everyone in Confederate territory would immediately be free. Even though the Emancipation Proclamation was made effective in 1863, it could not be implemented in places still under Confederate control.
As a result, in the westernmost Confederate state of Texas, enslaved people would not be free until much later. Freedom finally came on June 19, 1865, when some 2,000 Union troops arrived in Galveston Bay, Texas. The army announced that the more than 250,000 enslaved black people in the state, were free by executive decree. This day came to be known as “Juneteenth,” by the newly freed people in Texas.
The post-emancipation period known as Reconstruction (1865-1877) marked an era of great hope, uncertainty, and struggle for the nation as a whole. Formerly enslaved people immediately sought to reunify families, establish schools, run for political office, push radical legislation and even sue slaveholders for compensation. Given the 200+ years of enslavement, such changes were nothing short of amazing. Not even a generation out of slavery, African Americans were inspired and empowered to transform their lives and their country.
Juneteenth celebration in 1900 at Eastwoods Park. (Credit: Austin History Center)
Juneteenth marks our country’s second independence day. Although it has long celebrated in the African American community, this monumental event remains largely unknown to most Americans.
The historical legacy of Juneteenth shows the value of never giving up hope in uncertain times. The National Museum of African American History and Cultureis a community space where this spirit of hope lives on. A place where historical events like Juneteenth are shared and new stories with equal urgency are told.
Portal Helps People Explore Issues Of Race, Racism And Racial Identity
At the end of May, the Smithsonian’s National Museum of African American History and Culture launched Talking About Race, a new online portal designed to help individuals, families, and communities talk about racism, racial identity and the way these forces shape every aspect of society, from the economy and politics to the broader American culture.
The online portal provides digital tools, online exercises, video instructions, scholarly articles and more than 100 multi-media resources tailored for educators, parents and caregivers—and individuals committed to racial equality.
A rash of racially charged incidents—from an altercation in Central Park to acts of police brutality resulting in the deaths of Breonna Taylor, George Floyd and Rayshard Brooks and the protests they provoked in cities around the country—prompted the Museum to move up the release date of Talking About Race. The portal is free and does not require registration or sign-up to use.
Since opening the museum, the number one question we are asked is how to talk about race, especially with children. We recognize how difficult it is to start that conversation. But in a nation still struggling with the legacies of slavery, Jim Crow laws, and white supremacy, we must have these tough conversations if we have any hope of turning the page and healing. This new portal is a step in that direction.
Spencer Crew, interim director of the National Museum of African American History and Culture
Research shows that many people feel they do not have the information needed to discuss race in a way that is candid, safe and respectful of other viewpoints and experiences.
“The portal offers a wealth of resources to inform and guide discussions—videos, role-playing exercises, targeted questions and more, said Crew.” “We hope that people will use this site to become more comfortable about engaging in honest dialogue and self-reflection.”
According to an exclusive Variety.com report, Magnolia Pictures will premiere “John Lewis: Good Trouble,” a new documentary about the Civil Rights icon and longtime congress member, in Tulsa, Oklahoma on Juneteenth.
The film, which Magnolia and Participant are distributing, will screen at Circle Cinema, a non-profit organization that operates from a theater that traces back to 1928.
The screenings will be free (theaters will be at 25% capacity) and are intended to serve as counter-programing to Donald Trump’s political rally on Saturday. That rally ignited a firestorm of backlash and condemnation because it was originally scheduled to take place on Juneteenth, a holiday stemming from Texas that commemorates the end of slavery in the U.S.
Tulsa was the site of a race massacre in 1921 that has been called “the single worst incident of racial violence in American history.” Trump later moved the date of the rally back by a day.
“Our city is searching for ideas and ways to do peaceful protest of Trump,” Chuck Foxen, film programmer at Circle Cinema, told Variety. “This feels like a powerful way to celebrate the spirit and meaning of Juneteenth.”
We talk about how African Americans invented rock and roll. We talk about the great musicians Scott Joplin and W.C. Handy, the giant of ragtime and the “Father of the Blues.” Before rock and roll was a gleam in Chuck Berry’s mother’s eye, Jazz was the great American music form, a creation of Black artists.
And of course, rap and R&B rule the Billboard charts in the 21st century. And a century before Lil Nas X reimagined country music, the genre was born with the help of the banjo, a descendent of the West African lute brought to America by Africans who were enslaved, and with inspiration from early forms of Black music, such as spirituals and “field tunes.”
But there’s one more great American musical tradition, one where the contributions of Black people is sometimes forgotten, often under-appreciated. Maybe it shouldn’t surprise us that African Americans are often ignored when the discussion turns to the history of the Broadwaymusical, when Broadway itself is known as the “Great White Way.”
Broadway has never been an easy world for an outsider to break in, even when that outsider is White, wealthy, and part of the New York establishment. Mounting a Broadway show costs a small fortune, and there’s no cheap or easy way to distribute it. It’s a medium for people with powerful connections or large assets.
But African-American artists have made a tremendous impact, primarily as writers and performers, but also as creators of source material for Broadway shows and music. I don’t profess to be a historian of Broadway or African-American music, but I will do my best to take you on a fan’s journey through the long, storied history of African Americans and Broadway.
Savion Glover in “Bring In ‘Da Noise, Bring in ‘Da Funk”
To limit the scope a bit, this playlist is focused on Broadway shows only, ignoring the contributions made to Hollywood musicals, Off-Broadway, regional theater and West End theater in London. And even though I could add another hundred amazing cuts (thanks to Hamilton, Dreamgirls, Jelly’s Last Jam, etc.), I’ve limited the playlist to one crucial number from each show… with two notable exceptions (and for good reason).
These liner notes contain a short intro for every cut, but you don’t need them to enjoy the music. So without further ado, curtains up on the historic African-American tradition on Broadway, aka the Great Black Way.
Personal note: This playlist is dedicated to Good Black News’ Lori Lakin Hutcherson (who suggested and inspired it, and who has always inspired me), and musicologist Chris Molanphy, whoseSlate columns on music and podcast Hit Parade feed the hungry amateur music historian in me.
“I’m Just Wild About Harry” (1921)
Even though Shuffle Along was not the first Broadway musical featuring a Black cast in a Broadway theater (that distinction belongs to In Dahomey in 1903), it was the first Broadway musical written, composed and performed entirely by Black artists. Previous to the opening of Shuffle Along, there hadn’t been a successful “Black musical” on Broadway in 12 years, which made it particularly hard to mount the production. (Not to mention the fact that just a couple of decades before, African-Americans were prohibited from performing for White audiences, unless in – believe it or not – blackface). But Black vaudevillians Flournoy Miller and Aubrey Lyles teamed with Eubie Blake and Noble Sissle (who wrote the music and lyrics) and put every nickel they could find into creating this musical comedy. It paid off; Shuffle Along was a huge success. Shuffle Along deserves note for a few other reasons. It was the first production where a White audience witnessed two Black people on stage romancing and touching each other. It also helped launch the careers of two legends – Paul Robeson and Josephine Baker.
Ol’ Man River” (1927)
Six years before Jerome Kern and Oscar Hammerstein II wrote Showboat, a musical about a Mississippi River showboat, Paul Robeson was making his powerful baritone heard in Shuffle Along. His star only grew from there, and Hammerstein and Kern specifically wrote the crucial Showboat role of Joe for Robeson. Sadly, he wasn’t available for the original production, but took over the role in the 1932 revival and the film adaptation. Because one can’t think of Ol’ Man River without thinking of Robeson, his is the version I’ve included on this playlist. When Hammerstein and Kern adapted the Edna Ferbernovel that among other things deals with prejudice in the South, they changed Broadway forever. It is generally considered the first successful musical to bring a serious topic to the genre, which was a revelation after years of vaudeville, revues, and musical comedies. It was also the first well-known racially integrated musical and the first musical to deal with the issue of interracial marriage. And it also has its share of controversy due to the stereotypical use of vernacular and its outdated stereotypes. But it was another milestone for African-Americans on Broadway.
“Summertime” (1935)
So much has been written aboutPorgy and Bessand its treatment of African-American characters, both bad and good. Porgy and Bess has its detractors and supporters. It is a troubling artifact of American culture’s history of the depiction of African Americans. But no one can deny the impact the show has had on American pop culture. In fact, “Summertime” is one of the most covered songs in history (over 25,000 times)! Which is why, instead of featuring the original version, I decided to include one of the most famous covers, by Ella Fitzgerald and Louis Armstrong. This is also to make the point that just as Broadway has used African-American artists, African-American artists have used Broadway music to great advantage. In fact, Louis Armstrong makes one more appearance on this playlist, in a similar historical role.
Music Supervisor Rob Lowry (Twitter: @robertlowry) was recently inspired by Han Martin‘s (Twitter: @hnicolemartin) “Resources for White Family” post to create his own version of a letter and resources to White friends and family and tweet it to anyone who wanted them.
Good Black News requested and was given permission by Lowry to share his document in its entirety, as especially now Black people are being asked for resources from White colleagues, friends and family, and already have way too much to handle. So why not just shortcut it for everybody?
Lowry’s intro, letter and resources below:
** To everyone reading this: Thank you for taking the time and making the effort to begin having necessary conversations. Please note that this is by no means exhaustive, nor is it “One Size Fits All,” and should be used as a template to revise and repurpose as you see fit.
This particular version is in many ways meant as a very simple spoon-fed entry way into this conversation. This was compiled from several templates and resources across the web.
You’ll see that I’ve started my resources with documentaries and movies as that is the easiest and most efficient media that someone is most likely to consume, especially if they can simply click Netflix and the documentary is waiting for them to stream. Please feel free to share, and I hope this proves to be a useful resource for you and your family and friends. **
Hello Family & Friends,
First and foremost, I hope everyone is healthy and safe. As our country goes through this difficult period, I have taken much time to reflect on my own privilege, racism (conscious or unconscious), and my education and evolution on those issues over the years. The last few days and weeks have understandably intensified those thoughts. This reflection has led me to reach out to my loved ones to engage and discuss how we can be better allies to Black and Brown people (especially those in the LGTBQ+ community) moving forward.
These conversations can be difficult. My hope is that by sending this message and opening up a dialogue among close family members, we can listen and learn together and figure out how each of us can play a role in supporting these communities who need our support now more than ever.
These unprecedented times are amplified in communities who directly suffer from racism, police brutality, and oppression on a day to day basis. We know the system is broken and the recent murders of George Floyd , Breonna Taylor, Ahmaud Arbery, Sean Reed, and Tony McDade are a direct result of the system that inherently promotes white supremacy. Below is a graphic to further illustrate how white supremacy expresses itself in our world and how, whether or not we are aware, we contribute to it:
As we all know, these murders are not an isolated incident but, rather, the results that come from a flawed system designed and built to oppress minorities. While protests rage on across the country, it is an opportunity for people with privilege (like our family) to listen, read, and educate ourselves so that we can play a role in promoting anti-racism. It is easy during times like this to look away and wait for things to settle back down and revert to how they were. But we can no longer do that. We have a responsibility to educate ourselves and be proactive in defending and supporting our fellow human beings. We have the ability to take action, invest in anti-racism, support minority communities, condemn racism and oppression and create a better country – for everyone.
It is not the burden of these communities to educate us; we must educate ourselves. We are lucky enough to live in a time where we have access to a wealth of information that we can use at the click of a button. Below is a list of documentaries, books, and other items readily accessible that we could spend a few hours reading or listening to and thinking about. My hope is that this can lead to a further discussion, as a family, of what we can do to be more supportive of these communities.
DOCUMENTARIES & FILMS
Here is a list of Social Justice Films & Documentaries to watch. Start with 13th. I would also recommend watching GET OUT, BLINDSPOTTING, DO THE RIGHT THING, 42, THE LAST BLACK MAN IN SAN FRANCISCO, OJ: MADE IN AMERICA, A RAISIN IN THE SUN, DID YOU WONDER WHO FIRED THE GUN?, HALE COUNTY THIS MORNING, THIS EVENING
BOOKS
There is a plethora of literature on this topic – as a quick read and powerful introduction, I recommend Ta-Nehisi Coates “Between The World and Me” (BONUS POINTS FOR ORDERING FROM A LOCAL AND/OR BLACK OWNED BUSINESS RATHER THAN AMAZON). Here are some BLACK OWNED BOOK STORES across the country that could use your help
WHERE TO DONATE:
*Along with these charities, please google local organizations as well as victims’ families GoFundMe accounts that you can donate to and have a huge impact on their lives*
The Ida B. Wells Society – news trade organization dedicated to increasing and retaining reporters and editors of color in the field of investigative reporting
Black Lives Matter – mission is to eradicate white supremacy and build local power to intervene in violence inflicted on Black communities by the state and vigilantes
Reclaim The Block – organizes Minneapolis community and city council members to move money from the police department into other areas of the city’s budget
Black Visions Collective – Black, queer, and trans-led Minnesota nonprofit organizes campaigns to cut police budgets, invest in community-driven safety strategies, train activists, and celebrate Black joy
Campaign Zero – calls on lawmakers on every level to end police violence by implementing comprehensive research-based policy solutions
Know Your Rights Camp – aims to advance Black and Brown youth education and self-empowerment through events and campaigns
Black Youth Project 100 – dedicated to advancing the Black community’s economic, social, political, and educational freedoms, through a Black queer feminist lens
NAACP Legal Fund – legal organization fighting for racial justice
Known by many as “The Architect of Rock and Roll,” Richard Wayne Penniman aka Little Richard, was a pioneer of the popular music that came to dominate in the 1950s and beyond.
With a fusion of blues, boogie woogie and gospel stylings, Little Richard helped create the sound that swept the United States and ultimately the world.
Songs like “Rip It Up,” “Long Tall Sally,” “Good Golly Miss Molly,” ‘Ready Teddy,”“Tutti Frutti” combined with his energetic, rousing performances helped Little Richard set the stage and the bar for any and all rock and R&B superstars that came after him. To quote a recent New York Times article, Little Richard offered “An Ecstasy You Couldn’t Refuse.”
In honor of his life’s work GBN Contributor Marlon West put together a Spotify playlist celebrating Little Richard.
In Marlon’s words:
“Vernon Reid Twittered this tribute to the late great, Little Richard:
“No Jimi, No Beatles No Bowie, No Bolan. NO GLAM, No Freddie, No Prince, No Elton, No Preston No Sly, No Stevie, WITHOUT Little Richard! They DON’T HAPPEN Without HIM BLAZING A TRAIL IN THE DARK.”
Little Richard’s talent and audaciousness was the springboard to so many. Here’s a collection of his music, and of a wide range of artists who he influenced greatly.
Little Richard was a standard-bearer for being whoever the eff you want.”
Last week, theWashington Post reported the White House rejected a bail out proposal for the United States Post Office, which is suffering mightily due to the coronavirus pandemic.
“Trump threatened to veto the $2 trillion Coronavirus Aid, Relief, and Economic Security Act, or CARES Act, if the legislation contained any money directed to bail out the postal agency, according to a senior Trump administration official and a congressional official who, like others in this report, spoke on the condition of anonymity.”
“We told them very clearly that the president was not going to sign the bill if [money for the Postal Service] was in it,” the Trump administration official said. “I don’t know if we used the v-bomb, but the president was not going to sign it, and we told them that.” Instead, Sens. Gary Peters (D-Mich.) and Ron Johnson (R-Wis.) added a last-minute $10 billion Treasury Department loan to the Cares Act to keep the agency on firmer ground through the spring of 2020, according to a Democratic committee aide.
The Postal Service projects it will lose $2 billion each month through the coronavirus recession while postal workers maintain the nationwide service of delivering essential mail and parcels, such as prescriptions, food and household necessities.
That work often comes at great personal risk. Nearly 500 postal workers have tested positive for the coronavirus and 462 others are presumptive positives, USPS leaders told lawmakers. Nineteen have died; more than 6,000 are in self-quarantine because of exposure.
Even the $10 billion loan will likely not be enough, according to Forbes. Postmaster General Megan Brennantold lawmakers on Thursday that the agency may run out of cash by September thanks to a $13 billion loss in revenue this year.
This crisis threatens the jobs of around 600,000 workers, a large percentage of who are people of color. It also threatens access to voting by mail, census counting by mail, and rural deliveries.
In the past few days, political leaders, journalists, celebrities and concerned citizens have been rallying behind hashtags such as #SaveThePostOffice, #SaveUSPS and #SaveTheUSPS to amplify the issue and publicize ways individuals and communities can help prevent the nation’s Postal Service from destruction:
Our postal service is on the verge of collapse. I’m calling on Congress to act swiftly to shore up USPS so that everyone can continue to receive essential medicines and supplies, and as many Americans as possible can vote from home. #SaveThePostOfficehttps://t.co/w844TL5ZWc
U.S. Senator Elizabeth Warren says she plans to call on Congress to save USPS.
Sherilyn Ifill, President & Director-Counsel of the NAACP Legal Defense and Educational Fund and sister to the late journalist and broadcaster Gwen Ifill (who was honored with a Black Heritage Stamp earlier this year), encourages citizens to call on Congress and the White House to #SaveTheUSPS:
“AM Joy” host Joy Reid tweeted more suggestions for citizens to support the Postal Service:
Here are 2 things you can do to make a positive difference this week: 1. Request to vote absentee in your state (in many states you can do it online or print out the request and send it in) 2. BUY STAMPS-Even just to collect the coolest ones. Let's all support the Postal Service!
New York Times writer Nicole Hannah Jones offers a thread of tweets worth clicking through to read about how USPS workers are disproportionately black and brown, and how devastating it would be to communities to lose post office jobs, benefits and pensions:
Actor and activist Danny Glover, whose parents both worked for the Post Office, weighed in on the need to protect USPS last July, and offered ideas such as postal banking to help low-income Americans and help the Post Office generate sustaining revenue:
We must protect the US postal service! Read my opinion piece on why maintaining these good jobs are critical for black and middle class families! https://t.co/pVJOslC2BS
In 2018, average Postal Service wages were $51,540 a year, just slightly below the average for all U.S. workers. According to the Institute for Policy Studies, wages were substantially lower in the nine other occupations in which blacks make up at least 25% of employees. For example, home health aides, 26.1% of whom are black, averaged just $25,330 per year. Barbershop employees, 30.8% of whom are black, earned $33,220.
Instead of more cuts, policymakers should do away with the onerous pre-funding mandate and explore new profit sources, such as postal banking. One government report found that expanding services such as check cashing, bill payment and electronic money orders could generate as much as $1.1 billion in annual revenue after five years — all while dramatically expanding financial services for low-income Americans.
GBN delights in the opportunity to commemorate the birth of Billie Holiday, one of America’s most talented singing artists, on what would have been her 105th birthday.
Born Eleanora Fagan on April 7, 1915 and raised primarily in Baltimore, MD, Holiday is best known for her signature songs “God Bless The Child,” which she co-wrote with Arthur Herzog, Jr. and “Strange Fruit,” the anti-lynching protest song she first recorded in 1939.
Slightly older generations may have become acquainted with Holiday through the 1972 film Lady Sings The Blues, which garnered Diana Ross an Academy Award nomination for the title role.
Above you can watch Lady Day in 1957 on CBS’ The Sound of Jazz performing “Fine and Mellow,” the blues standard she wrote and first recorded in 1939, with Jazz All Stars such as Lester “Prez” Young, Ben Webster, Roy Eldridge, Gerry Mulligan, Milt Hinton and Mal Waldron.
Below you can experience a comprehensive compilation of Billie Holiday’s recordings in a Spotify playlist called Loving Lady Day: The Best of Billie Holiday. Click through to follow and/or download. Enjoy!
After the box-office success of the Fox 2000 feature film “Hidden Figures” (full disclosure – I worked as a writer on that project) in 2016, several African-American women who worked at NASA and contributed to the space race, such as the recently departed Katherine Johnson, finally became a celebrated part of the cultural zeitgeist.
It was at that time I realized I knew the names of some black astronauts (Mae Jemison, Charles Bolden) – but didn’t know who the first black astronauts were or how they contributed to the space program. So I did some research and was thrilled to learn about Guion “Guy” Bluford, Ron McNair and Frederick Gregory – the first three African-Americans in space (the first person of African descent was Cuban cosmonaut Arnaldo TamayoMéndez).
Ron McNair, Guy Buford and Frederick Gregory (photo via wikipedia.org)
Buford, McNair and Gregory were all NASA classmates in the “Class of 1978,” when NASA re-invigorated the space program after not sending anyone into space since Apollo 17 took its last journey in 1972.
This was also the class that was the first to train women as astronauts (Sally Ride) as well as the first Asian-American man (Ellison Onizuka).
Out of 8,000 applicants, only 35 were selected. While in theprogram, the astronauts-to-be spent a year going through a battery of tests, training and simulations to prep them all for potential flight on the NASA space shuttle program. (The Space Shuttle program was instituted to carry huge payloads in space, conduct experiments in space, and also to allow the U.S. and other countries to launch probes and satellites from space to enable further exploration of our solar system, other galaxies and the universe.)
