WNBA superstar and Olympic gold medalist Lisa Leslie will be the first female athlete honored with a statue outside of Staples Center in Los Angeles, CA, according to the Los Angeles Times.
Arash Markazi reported the news, writing that the Los Angeles Sparks and Anschutz Entertainment Group still have to iron out the specific date but agreed Leslie will be the 11th statue outside of the famed sports and entertainment arena. Leslie’s statue will also be the first of a WNBA player outside of a team’s home arena.
Lisa Leslie is going to get a statue outside of Staples Center. The Sparks and AEG will talk about the specifics soon but it will be the 11th in Star Plaza and the first honoring a female athlete. It will be the first statue of a WNBA player outside the home arena of a WNBA team. pic.twitter.com/nw7YdDh30u
According to bleacherreport.com, Leslie went to the Sparks in the WNBA’s inaugural draft in 1997 and played her entire career with the team through 2009. During her professional basketball career, Leslie won three league MVPs, two championships, four Olympic gold medals and three All-Star Game MVPs .
Leslie, who was the first WNBA player to dunk in a game, was also named to eight All-Star teams and 12 All-WNBA teams, including eight first-team selections. In addition to her WNBA achievements, she once scored 101 points in a half during a game for Morningside High in Inglewood, and was named first-team all-conference in each of her four seasons at USC.
Leslie will now be forever memorialized alongside statues of Los Angeles legends such as Magic Johnson, Shaquille O’Neal and Kareem Abdul-Jabbar.
According to thegrio.com, the photo archives of EBONY and JET magazines were sold at auction on Thursday. A group of buyers including the J. Paul Getty Trust, in association with the Ford Foundation, the John D. and Catherine T. MacArthur Foundation and the Andrew W. Mellon Foundation purchased the historic photos for $30 million.
According to the Chicago Tribune, the archive will go to the Smithsonian National Museum of African American History and Culture, the Getty Research Institute, as well as other institutions so that researchers and scholars will have access.
“There is no greater repository of the history of the modern African-American experience than this archive,” James Cuno, president of The J. Paul Getty Trust, said in a press release. The trust is the lead purchaser in the consortium. “Saving it and making it available to the public is a great honor and a grave responsibility.”
The archive, which chronicles seven decades of Black life in America and consists of millions of images, was placed up for auction by the Chicago-based Johnson Publishing Co., after filing for Chapter 7 bankruptcy in April.
Creditors owed include filmmaker George Lucas and his wife financial investment advisor Mellody Hobson, who own Capital V Holdings and gave a $12 million loan to Johnson Publishing. Lucas and Hobson were eligible to bid on the archives using the money that was owed to them. They could also have received the full collection in foreclosure if there had not been another bidder for the archives.
“The Johnson Publishing archives are an essential part of American history and have been critical in telling the extraordinary stories of African American culture for decades,” Lucas and Hobson’s company said back in April. “We want to be sure the archives are protected for generations to come.”
According to the Journal of Blacks in Higher Education, the Black Gospel Music Restoration Project at Baylor University in Waco, Texas, is branching out to find and preserve recorded sermons by Black preachers.
The Restoration Project was originally established to identify, acquire, preserve, record, and catalogue the most at-risk music from the Black gospel music tradition from the 1940s to the 1980s. In addition to preserving in digital format these gospel recordings, the archive includes press photos and press packets, taped interviews, informal photographs, tour books and programs, newspaper and magazine clippings, and sheet music.
Now the project is looking to digitize sermons that were recorded on vinyl. Some records were just a Black preacher preaching for two and a half minutes on each side and they sold half a million copies – even during the Great Depression.
“All Black preachers sing, and all Black singers preach,” notes Robert Darden, a professor of journalism, public relations and new media at Baylor and the director of the Black Gospel Music Restoration Project.
“That got me thinking – nobody has been collecting the Black preaching from the Civil Rights movement, other than Dr. King. All these incredible heroes who were preaching around the rest of the country, there’s not a collection of their work. So, I met with the other folks in the Black Gospel project, and we agreed that in addition to the music, we ought to be trying to collect preaching.”
Support The Project
The Black Gospel Music Restoration Project is made possible by men and women with a zeal for preserving history. Support will help the project continue its important work. All donations are used solely to support the work of the project. Two funds have been established to support the project:
Denzel Washington earned his first Oscar® – as Best Supporting Actor – in the sweeping Civil War epic GLORYfor his intense, passionate performance as Private Silas Trip, a formerly-enslaved man who volunteers to be part of the 54th Massachusetts, one of the first Union regiments fully comprised of black soldiers.
The film also stars Morgan Freeman, as Sergeant Major John Rawlins, Andre Braugher, Jihmi Kennedy and Matthew Broderick as Col. Robert Gould Shaw, who assumes command of the regiment – which by law could only be led by a white man.
Edward Zwick directed and Kevin Jarre wrote the screenplay based on the 1965 novel One Gallant Rush by Peter Burchard and the 1973 book Lay This Laurel by Lincoln Kirstein and Richard Benson.
For the first time since its initial release in 1989, GLORY is coming back to movie theaters nationwide for two days this month to mark the film’s 30th anniversary.
Fathom Events and the TCM Big Screen Classics series are presenting GLORYin more than 600 movie theaters on July 21 and July 24 only — 156 years after the Second Battle of Fort Wagner, the Union push on a Confederate stronghold that forms the film’s climax (and which began on July 18, 1863).
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WHO:
Fathom Events, Turner Classic Movies and Sony Pictures
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Sunday, July 21, 2019 – 1:00 p.m. and 4:00 p.m. (local time)
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Tickets for Glory can be purchased at www.FathomEvents.com or participating theater box offices. Fans throughout the U.S. will be able to enjoy the event in more than 600 movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change).
Glory debuts on 4K Ultra HD disc and in 4K with HDR via participating digital platforms on July 30, 2019.
These monies will help maintain poet and scholar Langston Hughes‘ house in Harlem, New York, The Harriet Tubman Home in Auburn, NY, the home of Negro League Baseball star Satchel Paige in Kansas City, Mo., the Emmett Till Memorial Commission in Summer, Miss., ‘The Forum’ in Chicago’s Bronzeville neighborhood, the African Meeting Housein Boston, MA, the oldest existing black church in the U.S., and the Emanuel African Methodist Episcopal Church in Charleston, South Carolina, among others.
In his announcement at 2019’s Essence Festival in New Orleans, Action Fund executive director Brent Leggs championed the importance of this work when he remarked, “The recipients of this funding shine a light on once lived stories and Black culture, some familiar and some yet untold, that weave together the complex story of American history in the United States.”
This year’s funds, provided by The Andrew W. Mellon Foundation, were awarded to key places and organizations that help the Action Fund achieve its mission of protecting, restoring, and interpreting African American historic sites and uncovering hidden narratives of African Americans and their contribution to the American story. Grants are given across four categories: capacity building, project planning, capital, and programming and interpretation.
Learn more about the full list of grantees by clicking here.
The National Trust for Historic Preservation, through its African American Cultural Heritage Action Fund, announced a crowdfunding campaign to support the restoration and preservation of Nina Simone’s childhood home in Tryon, NC.
This campaign, supported by artists, actors, and musicians including John Legend, will raise funds integral to the exterior restoration of the home where the celebrated singer, pianist and Civil Rights icon’s life began. The home, which has fallen into disrepair requiring urgent revitalization, was designated a National Treasure in June of 2018.
“Spaces devoted to the history and legacy of people of color, especially women of color, are far too few in America today,” said John Legend. “Preserving places like the Nina Simone childhood home will help keep her powerful story alive. This campaign pays tribute to Nina Simone’s unapologetic pursuit of musical, personal, and political freedom and I am proud to be a part of it.”
The National Trust’s crowdfunding campaign will run onIndieGoGo, beginning today, giving the public an opportunity to make donations to this effort, and to purchase newly designed Nina Simone-inspired merchandise including t-shirts, artist prints, pins, and postcards with artwork by Dare Coulter — a North Carolina-based artist working to create positive imagery of people of color. The campaign will also include the option to acquire additional merch donated by musicians including Talib Kweli and actors Mahershala Ali and Issa Rae.
“Our culture is embodied in old places and the history and stories they keep,” said Brent Leggs, executive director of the African American Cultural Heritage Action Fund at the National Trust for Historic Preservation. “This modest home in Tryon, North Carolina embodies the story of a young black girl who transcended the constraints placed on her in the Jim Crow south, to become the voice of the Civil Rights Movement. Nina Simone’s childhood home provides an important lens for examining the contours of her life, and through its preservation, we hope to celebrate and cement her legacy in our American narrative.”
In 1933, Eunice Waymon, aka Nina Simone, was born in Tryon, North Carolina. It was in this home that Simone first taught herself the piano at the age of three, performed in public for the first time at the neighborhood church where her mother preached, and where she experienced the constraints placed on African Americans in the rural Jim Crow South. This home would become the inspiration of some of her most influential music and political activism, including songs such as “Mississippi Goddam” and “Four Women.”
In recent years, the three-room, 660-square foot clapboard pier and beam house had fallen in disrepair. The vacant property was put on the market in 2016. Alarmed by the condition of the home and the risk of losing this connection to Nina Simone entirely, four African American visual artists—conceptual artist and painter Adam Pendleton, the sculptor and painter Rashid Johnson, the collagist and filmmaker Ellen Gallagher, and the abstract painter Julie Mehretu—purchased the property in 2017.
“When three fellow artists and I purchased Nina Simone’s childhood home in 2017, we did so with the desire that the site be transformed into a piece of living history, “ said artist Adam Pendleton. “This space, so integral to Nina Simone’s music and activism, can serve to carry forward her legacy and inspire future artists and musicians.”
Nina Simone’s career spanned multiple genres, four decades, several continents, and earned 15 Grammy nominations. Her songs have been professionally sampled and covered more than 500 times.
This week, the National Trust will be bringing the Nina Simone Crowdfunding campaign to the 25th annual Essence Festival, where attendees can claim exclusive perks and learn more about this National Treasure.
According to deadline.com, Universal Pictures plans to celebrate the 30th anniversary of Spike Lee’s groundbreaking and still-topical filmDo the Right Thing with a re-mastered 4K restoration that will hit theaters June 28.
In partnership with Universal Pictures Home Entertainment and the Criterion Collection, the re-release will include one-week engagements as well as single-day showtimes June 30 at select AMC, Regal Cinemas, Cinemark, and Alamo Drafthouse theaters. There also will be 35mm screenings at select theaters in New York, Los Angeles, Chicago, Austin and Brookline, MA.
“When Spike Lee’s revolutionary Do the Right Thing was released by Universal Pictures 30 years ago this June, it ignited a national conversation on race and race relations in America that challenged our assumptions about ourselves and our country and heralded the arrival of a generation-defining filmmaker,” said Jim Orr, Universal’s President of Domestic Theatrical Distribution.
Set during one sweltering summer day on a block of Brooklyn’s Bedford-Stuyvesant neighborhood, the film follows the interactions among neighborhood characters Mookie (Lee), Sal (Danny Aiello), Da Mayor (Ossie Davis), Mother Sister (Ruby Dee), Mister Señor Love Daddy (Samuel L. Jackson), Tina (Rosie Perez), Buggin Out (Giancarlo Esposito), Jade (Joie Lee), Pino (John Turturro) and Radio Raheem (Bill Nunn). Tensions rise as demands for a black person’s photo be added to the Italians-only Wall of Fame at Sal’s Pizzeria create heated confrontations that ultimately explode into police-instigated violence.
Public Enemy recorded the film’s anthem “Fight The Power,” which remains an influential hip-hop classic to this day (see video below). Lee earned an Original Screenplay Oscar nomination for the film, and Aiello earned a Supporting Actor nod. On July 23, the Criterion Collection also will celebrate the 30th anniversary with a Blu-ray/DVD release of a director-approved definitive edition featuring the new 4K restoration.
President Barack Obama is photographed during a presidential portrait sitting for an official photo in the Oval Office, Dec. 6, 2012. (Official White House Photo by Pete Souza via commons.wikipedia.org)
The Obama Foundation has selected the Columbia Center for Oral History Research to produce the official oral history of Barack Obama’s presidency, according to the Journal of Blacks in Higher Education.
The project will provide a comprehensive, enduring record of the decisions, actions, and effects of his historic administration. The University of Hawai’i and the University of Chicago will also serve as contributing partners for the project, documenting Obama’s early life in Hawaii and his years in Chicago, respectively.
“Michelle Obama famously observed, ‘You can’t really understand Barack until you understand Hawai’i,’” said University of Hawai’i President David Lassner. “UH and our extraordinary Center for Oral History are looking forward to exploring those early days with those who were part of President Obama’s story.”
“We are pleased to collaborate with Columbia on this exciting project,” said University of Chicago faculty members Adam Green and Jacqueline Stewart in a joint statement. “The stories of Michelle and Barack Obama are intertwined with the story of Chicago and the South Side in particular. We look forward to contributing to that historic narrative, with a focus on how their city helped to shape them as civic leaders.”
Starting this summer and over the next five years, the Obama Presidency Oral History Project will conduct interviews with some 400 people, including senior leaders and policy makers within the Obama administration, as well as elected officials, campaign staff, journalists, and other key figures outside the White House.
The project will also incorporate interviews with individuals representing different dimensions of daily American life, whose perspectives will enable the archive to include how the general public was affected by the Obama administration’s decisions. Additionally, the research team will collect information about Michelle Obama’s work and legacy as First Lady.
“We are honored to document the legacy of President Obama. Our goal is to set a new benchmark for presidential oral histories in terms of the diversity and breadth of narratives assembled and depth of understanding achieved,” said Mary Marshall Clark, director of the Columbia Center for Oral History Research and a project co-investigator. “Central to our project is a commitment to candidly document the stories of key administration alumni and bring them into conversation with the varied experiences of Americans from all walks of life.”
In addition to hosting the project, Columbia has announced the formation of the Obama Presidency Oral History Advisory Board, composed of leading presidential historians, authors, and scholars who can speak to how the Obama administration affected the lives of those inside and outside of Washington D.C.
Lonnie G. Bunch, III, Founding Director of the National Museum of African American History and Culture, moderates a panel on the “Heroes of the Civil Rights Movement: Views from the Front Line” at the Civil Rights Summit at the LBJ Presidential Library. (Photo by Lauren Gerson via commons.wikipedia.org)
Lonnie G. Bunch III, the founding director of the Smithsonian National Museum of African American History and Culture (NMAAHC), was appointed the new Secretary of the Smithsonian on Tuesday. According to dcist.com, Bunch is the fourteenth person to hold the position in the Smithsonian’s 173-year history, and the first African American.
As Secretary, Bunch will manage the administration of the Smithsonian’s 19 museums, 21 libraries, and the National Zoo. He is also responsible for its $1.5 billion annual budget. Bunch succeeds David J. Skorton, who announced his resignation in December.
“Lonnie has spent 29 years of his life dedicated to the Smithsonian, so he knows the institution inside and out,” said David Rubenstein, the chair of the Smithsonian Board of Regents on Tuesday. The Board met at the Supreme Court earlier in the day unanimously elected Bunch as Secretary.
“He’s also highly regarded by members of Congress and highly respected by our donor base,” Rubenstein added, while also citing Bunch’s “incredible character” and his leadership of the NMAAHC as major assets.
“You’re going to make a historian cry,” Bunch said when he spoke at Tuesday’s press conference. “This is an emotional moment, because the Smithsonian means so much to me personally and professionally.”
Bunch was the first curator for the California African American Museum in Los Angeles in the 1980s and previously served as president and director of the Chicago History Museum from 2000 to 2005. In 2005, Bunch came to the Smithsonian to steward NMAAHC from conception. He shepherded both the David Adjaye-designed structure, did tireless fundraising, and helped build up and curate the museum’s collection from scratch.
The museum has been such a huge success that tickets are still largely required more than two years after opening, with visitors staying for hours longer than at other facilities. In its first year of operation, NMAAHC welcomed nearly 2.4 million visitors and was the fourth-most visited Smithsonian institution.
“It tells the unvarnished truth,” Bunch told DCist on the one-year anniversary of the museum’s opening. “I think there are people who were stunned that a federal institution could tell the story with complexity, with truth, with tragedy, and sometimes resilience.”
Over his tenure, Bunch and his team of curators made it a point to continue building a collection for the museum’s future, including acquiring artifacts from the Black Lives Matter movement, and to integrate D.C.’s own rich history into the fabric of the museum.
According to the Journal of Blacks in Higher Education, the Center for Digital Research in the Humanities at the University of Nebraska-Lincoln recently debuted an online database of more than 500 court cases in which enslaved persons had sued to gain their freedom. The Dred Scott case in 1857 is the most famous of such cases, but there were many more.
The project collected, digitized, and makes accessible the freedom suits brought by enslaved families in the Circuit Court for the District of Columbia, Maryland state courts, and the U.S. Supreme Court. African-American enslaved families accumulated legal knowledge, legal acumen, and experience with the law that they passed from one generation to the next.
The freedom suits they brought against slaveholders exposed slavery a priori as subject to legal question. The suits in Washington, D.C., the nation’s capital, raised questions about the constitutional and legal legitimacy of slavery, and by extension, affected slavery and law in Maryland, Virginia, and all of the federal territories.
One such case was that of Ann Williams, who leapt from the third floor window of a tavern on F Street in Washington, D.C., after she was sold to Georgia slave traders and separated from her family. She suffered a broken back and fractured her arms, but she survived.
In 2015, original documents about her came to light at the National Archives. Williams and her husband were reunited and had four more children. Then she sued for her freedom. And won. Below is a short film about her story:
The online database concentrates on cases filed in Washington, D.C. in the 1820s and 1830s. More than 100 of these cases involved enslaved persons who were represented by Francis Scott Key, the author of the “Star Spangled Banner.” As such the database is named “O Say Can You See: Early Washington, D.C., Law and Family.”
The project collected, digitized, and makes accessible the freedom suits brought by enslaved families in the Circuit Court for the District of Columbia, Maryland state courts, and the U.S. Supreme Court. African-American enslaved families accumulated legal knowledge, legal acumen, and experience with the law that they passed from one generation to the next.