article by Sameer Rao via colorlines.com
Following the literary and film success of “Hidden Figures,” author Margot Lee Shetterly will turn her attention to two little-known but prominent Black families in Baltimore. Viking Books announced today (April 10) that it has acquired the rights to Shetterly’s next two books.
The first will focus on the mid 20th-century achievements of the Murphys, a publishing family, and the entrepreneurial Adams family. As described by PBS, formerly enslaved patriarch John Henry Murphy founded the The Afro-American newspaper and turned it, with his children, into one of the country’s most widely-read Black titles.
The paper tackled Jim Crow, the lack of Black representation in Baltimore government and other racial justice issues throughout its existence. The Murphys used this influence to successfully advocate local change, including desegregating the University of Maryland‘s law school.
A 2011 Baltimore Sun obituary for Adams family leader William “Little Willie” Adams notes that he and his schoolteacher-turned-politician wife Victorine spun wealth generated in the Great Depression-era underground economy into systematic venture capital and philanthropy. Their investments and donations sustained Black business development, employment and political clout for decades in Baltimore.
According to a Viking press statement about the not-yet titled book, “Shetterly will bring the history of Baltimore to life through the success stories of the Adamses and the Murphys, also showing the contrasting challenges faced by those left behind by redlining, lack of economic opportunity, and urban decay.”
The second book lacks a fixed topic but will also uncover the history of hidden Black figures.
Source: ‘Hidden Figures’ Author to Introduce Readers to Unsung Black Families In Baltimore | Colorlines
Posts published in “History”
article by Lori Lakin Hutcherson (@lakinhutcherson)
According to coinnews.net, famed abolitionist and activist Frederick Douglass has become the latest historic icon to land on U.S. currency. Designed by Thomas Hipschen and engraved by U.S. Mint Sculptor-Engraver Phebe Hemphill, Douglass is now on the U.S. quarter, which was released by the U.S. Mint on Tuesday.
400 million Douglass quarters will be in circulation and are also available to order online, in 40-coin rolls and 100-coin bags. Buyers have the option of quarters produced at the U.S. Mint’s facilities in Philadelphia, Denver and San Francisco.
The design — which features Douglass writing in the front of his Southeast, Washington, D.C. home where he lived from 1877 until his death in 1895 — was selected by the U.S. Secretary of the Treasury as part of the America the Beautiful Quarters Program.
The program issues quarters that honor national park sites, and the place of Douglass’ former home on W Street SE in Anacostia, was named the Frederick Douglass National Historic Site.
To learn about the development of this coin image, watch below:
In related news, Harriet Tubman will be the new face of the $20 bills by 2020.
article by Lori Lakin Hutcherson (@lakinhutcherson)
Exhibition to Feature Artist Kadir Nelson and Poet Saul Williams.
HBO recently announced the official launch of “The HeLa Project,” a culturally-grounded, multi-media exhibition inspired by the highly-anticipated HBO film, “The Immortal Life of Henrietta Lacks,” starring Oprah Winfrey and Rose Byrne, which will premiere on April 22. Directed by George C. Wolfe, the film is based on Rebecca Skloot’s critically acclaimed New York Times bestseller of the same name.
The film tells the true story of Henrietta Lacks, an African-American woman whose cells were used to create the first immortal human cell line that ultimately led to unprecedented medical breakthroughs, changing countless lives and the face of medicine forever.
“The HeLa Project” is designed to celebrate Henrietta Lacks, the woman – to give her a voice and to humanize and recognize her. The exhibition features an original portrait by two-time Caldecott Honor Award winning artist Kadir Nelson and an original poem by Saul Williams. Additional art, curated by Lewis Long of Long Gallery Harlem, includes works by Derrick Adams, Zoe Buckman, Madeleine Hunt Ehrlich, Doreen Garner, and Tomashi Jackson. The product of these elements, plus an educational, sculptural installation about the HeLa cells, all converge in this engaging experience.
The exhibition debuted last week in Baltimore at the Reginald Lewis Museum, and will run April 7th – April 9th in SoHo, New York (465 W. Broadway, Fri – Sat, 11am – 7pm, Sun 12pm – 5pm).
“The HeLa Project” will be making additional stops in Atlanta, GA on April 13th – April 16th at the National Center for Civil and Human Rights.
article via jbhe.com
North Carolina State University recently premiered a new documentary film that examines the history of African American speech, its cultural importance, and how African American speech has shaped modern American English. Walt Wolfram, the William C. Friday Distinguished University Professor is the executive producer of the film and the director of the Language and Life Project at the university.
The film – Talking Black in America – is the culmination of five decades of research by Dr. Wolfram. Professor Wolfram stated that “there has never been a documentary devoted exclusively to African American speech, even though it’s the most researched – and controversial – collection of dialects in the United States and has contributed more than any other variety to American English. The status of African American speech has been controversial for more than a half-century now, suffering from persistent public misunderstanding, linguistic profiling, and language-based discrimination. We wanted to address that and, on a fundamental level, make clear that understanding African American speech is absolutely critical to understanding the way we talk today.”
A trailer for the film can be viewed below:
Upcoming screenings:
Tuesday, April 4th at 7pm in Witherspoon 126 (Washington Sankofa Room) on NC State Campus. Screening and panel discussion about the ways language discrimination interacts with other forms of discrimination in the American justice system (NC State’s final Common Reading event of the year). Panelists: Vernetta Alston, Attorney at the Center for Death Penalty Litigation, Jim Coleman, Professor of the Practice of Law at Duke University, and Walt Wolfram, Professor of English Linguistics at NC State University.
Thursday, April 6th at 2pm at the University of Missouri at St. Louis. Presentation by Executive Producer Walt Wolfram.
Monday, April 10th at 7pm at the UC Theater at Western Carolina University. Screening followed by Q+A with film producers Walt Wolfram and Danica Cullinan.
To find out more information, go to: https://languageandlife.org/talking-black-in-america/
Source: New Documentary Film on the Importance of African American Speech : The Journal of Blacks in Higher Education
article by via nytimes.com
William T. Coleman Jr., who championed the cause of civil rights in milestone cases before the Supreme Court and who rose above racial barriers himself as an influential lawyer and as a cabinet secretary, died Friday at his home in Alexandria, Va. He was 96.
His death was confirmed by a spokeswoman for the international law firm O’Melveny & Myers, where Mr. Coleman was a senior partner in its Washington office. He lived at a care facility with his wife of more than 70 years, Lovida Coleman. A lifelong Republican, Mr. Coleman was as comfortable in the boardrooms of powerful corporations — PepsiCo, IBM, Chase Manhattan Bank — as he was in the halls of government.
He was the second African-American to serve in a White House cabinet, heading the Department of Transportation. Mr. Coleman found success on the heels of a brilliant academic career, but he did so in the face of bigotry — what he called “the more subtle brand of Yankee racism” — from which his middle-class upbringing in Philadelphia did not shield him. In one episode, his high school disbanded its all-white swimming team rather than let him join it.
Those experiences would inform his efforts in three major civil rights cases before the United States Supreme Court. In one, Mr. Coleman, recruited by Thurgood Marshall, was an author of the legal briefs that successfully pressed the court to outlaw segregation in public schools in Brown v. Board of Education in 1954. Ten years later, he argued a case that led to a Supreme Court decision establishing the constitutionality of racially mixed sexual relations and cohabitation. (McLaughlin v. Florida, in which the Supreme Court overturned a Florida law that prohibited an interracial couple from living together under the state’s anti-miscegenation statutes.) And in 1982, he argued that segregated private schools should be barred from receiving federal tax exemptions. The court agreed.
Mr. Coleman was appointed transportation secretary by President Gerald R. Ford in March 1975, a little more than six months after Ford, who had been vice president, succeeded President Richard M. Nixon after Nixon’s resignation in the Watergate affair. Mr. Coleman, a corporate lawyer with expertise in transportation issues, was on the Pan Am board of directors at the time.
To read full article, go to: https://www.nytimes.com/2017/03/31/us/politics/william-coleman-jr-dies.html?_r=0
article by Beth J. Harpaz, AP via washingtonpost.com
An opera about Negro Leagues baseball star Josh Gibson, whose power hitting rivaled Babe Ruth’s, will have its world premiere in Pittsburgh this April. “The Summer King,” presented by Pittsburgh Opera, premieres April 29. Gibson’s story also figured in “Fences,” the movie starring Denzel Washington that was originally a play by Pittsburgh native August Wilson.
Baseball and opera “don’t usually inhabit the same universe,” said Christopher Hahn, Pittsburgh Opera’s general director. But opera is the perfect medium for telling Gibson’s story because opera allows people “to sing about emotions and aspirations and fears.”
Gibson was one of the first three Negro Leagues players to be inducted into the National Baseball Hall of Fame, which lists his career batting average as .350. He was twice named Negro National League batting champ and led the league in home runs three times. He played for two Pittsburgh teams, the Homestead Grays and the Crawfords.
Gibson died at 35, probably from a brain aneurysm, a few months before Jackie Robinson integrated baseball in 1947. Gibson’s story is “the story that came before Jackie Robinson,” says Daniel Sonenberg, composer of “The Summer King.” ‘’Josh’s career made the advent of Jackie Robinson possible. It was Josh who played at this high level that caught the attention of white owners. It was Josh who demonstrated it was competitive suicide not to integrate.”
But baseball’s integration led to the Negro Leagues’ shutdown, ending careers for dozens of black athletes who were not among the few chosen for white teams. Both “Fences” and “The Summer King” honor “a whole generation of wonderful players whose livelihoods and social structures got up-ended,” Hahn said.
“Most people know the story of Josh Gibson as a baseball player, a home run hitter compared to Babe Ruth with outstanding statistics, in the Hall of Fame,” Sean Gibson said. “But behind the uniform was a great man who lived through tragedy outside of dealing with racism and playing baseball: His wife died giving birth to their twins.”
The opera also portrays Gibson’s career playing abroad in Cuba, Mexico and elsewhere. “Over there they didn’t have to deal with racism,” said Sean Gibson. “You’re going over to Latin countries, your skin color is the same color as theirs.” Nearly all 14 principal roles in “The Summer King” are played by African-Americans, a rarity in operas (”Porgy and Bess” notwithstanding). Renowned mezzo-soprano Denyce Graves plays Gibson’s lover. Bass-baritone Alfred Walker, who plays Gibson, told the New Pittsburgh Courier that playing “someone that looks like me” is “an amazing opportunity.”
A ballfield named for Gibson is located in Pittsburgh’s Hill District neighborhood, not far from the August Wilson House, the late playwright’s childhood home. The August Wilson House hosts a block party April 29, starting at noon, just a few hours before the opera premiere, to mark Wilson’s birthday.
The Michigan Opera Theatre in Detroit plans to stage “The Summer King” in March 2018.
To read full article, go to: Opera tells story of Negro Leagues baseball star Josh Gibson – The Washington Post
article via eurweb.com
A documentary about Leone Jacovacci, a black Italian boxer who discredited 20th century Italian dictator Benito Mussolini’s racist ideology by winning a European boxing title is making waves in Italy and abroad, reports Variety. “The Duce’s Boxer” tells the story of Jacovacci, an African Italian born in the Congo who won the 1928 European middleweight title by beating Mario Bosisio, a white Italian boxer supported by the country’s Fascist leaders, in front of 40,000 fans in Rome’s National Stadium.
Mussolini, outraged, then ordered Jacovacci and his achievement erased from Italy’s history books. But 89 years later, Jacovacci’s story has been resurrected. “The Duce’s Boxer” premieres today (March 21) in 25 Italian cities to mark the U.N. International Day for the Elimination of Racial Discrimination.
Based on the book “Black Roman” by Italian sociologist Mauro Valeri, a former head of the country’s National Xenophobia Observatory, “The Duce’s Boxer” is directed by first-timer Tony Saccucci. Saccucci used archive footage from Italian state film entity Istituto Luce and photos provided by Jacovacci’s family, according to Variety.
Saccucci found that footage of the title match had been tampered with by Fascist censors. Jacovacci’s story is reminiscent of American track-and-field athlete Jesse Owens’ feat when he won four gold medals at the 1936 Berlin Olympic Games, debunking Hitler’s creed of Aryan supremacy.
To read more, go to: New Documentary Details How a Black Italian Boxer Humiliated Mussolini | EURweb
article via thegrio.com
Nancy Abu-Bonsrah is making history after being admitted to Johns Hopkins as its first black female neurosurgeon. On Friday, March 17, fourth-year medical students participated in a Match Day event in which they discovered where they would be doing their residency training over the summer. Each student held an envelope with the name of their matched hospital, and when Abu-Bonsrah opened hers, it had the name Johns Hopkins.
Abu-Bonsrah was thrilled, saying, “Everything is special about the match. It will be a dream come true.”Nancy Abu-Bonsrah is making history during #WomensHistoryMonth Read her story on @BBCNews here https://t.co/9k4kaygRTz pic.twitter.com/rAx12tb2vF— Hopkins Med News (@HopkinsMedNews) March 20, 2017
Asked about herself, Abu-Bonsrah had this to share: “I was born in Ghana and spent the first 15 years of my life there. My family and I came to Maryland about 11 years ago. I did most of high school at Hammond High in Columbia, Maryland, and went to college at Mount St. Mary’s University in Emmitsburg, Maryland. I came to Johns Hopkins right after undergrad. I will be the first physician in my family, including the extended family.”
As for her future plans, she said, “I am very much interested in providing medical care in underserved settings, specifically surgical care. I hope to be able to go back to Ghana over the course of my career to help in building sustainable surgical infrastructure. I will be matching into neurosurgery, a field that I am greatly enamored with, and hope to utilize those skills in advancing global surgical care.
To read full article, go to: Johns Hopkins admits its first black female neurosurgeon | theGrio
article by Jon Pareles via nytimes.com
Chuck Berry, who with his indelible guitar licks, brash self-confidence and memorable songs about cars, girls and wild dance parties did as much as anyone to define rock ’n’ roll’s potential and attitude in its early years, died on Saturday. He was 90.
The St. Charles County Police Department in Missouri confirmed his death on its Facebook page. The department said it responded to a medical emergency at a home and Mr. Berry was declared dead after lifesaving measures were unsuccessful.
While Elvis Presley was rock’s first pop star and teenage heartthrob, Mr. Berry was its master theorist and conceptual genius, the songwriter who understood what the kids wanted before they knew themselves. With songs like “Johnny B. Goode,” “Maybellene” and “Roll Over Beethoven,” he gave his listeners more than they knew they were getting from jukebox entertainment.
His guitar lines wired the lean twang of country and the bite of the blues into phrases with both a streamlined trajectory and a long memory. And tucked into the lighthearted, telegraphic narratives that he sang with such clear enunciation was a sly defiance, upending convention to claim the pleasures of the moment. In “Sweet Little Sixteen,” “You Can’t Catch Me,” “Rock n Roll Music” and other songs, Mr. Berry invented rock as a music of teenage wishes fulfilled and good times. (The Beach Boys reworked his “Sweet Little Sixteen” into “Surfin’ U.S.A.” Mr. Berry sued them and won a songwriting credit.)
Born Charles Edward Anderson Berry on Oct. 18, 1926, in St. Louis, he grew up in a segregated, middle-class neighborhood there, soaking up gospel, blues, and rhythm and blues, along with some country music.He spent three years in reform school after a spree of car thefts and armed robbery.
He received a degree in hairdressing and cosmetology and worked for a time as a beautician; he married Themetta Suggs in 1948 and started a family. By the early 1950s, he was playing guitar and singing blues, pop standards and an occasional country tune with local combos. Shortly after joining Sir John’s Trio, led by the pianist Johnnie Johnson, he reshaped the group’s music and took it over.
From the Texas guitarist T-Bone Walker, Mr. Berry picked up a technique of bending two strings at once that he would rough up and turn into a rock ’n’ roll talisman, the Chuck Berry lick, which would in turn be emulated by the Rolling Stones and countless others. He also recognized the popularity of country music and added some hillbilly twang to his guitar lines. Mr. Berry’s hybrid music, along with his charisma and showmanship, drew white as well as black listeners to the Cosmopolitan Club in St. Louis.
In 1955, Mr. Berry ventured to Chicago and asked one of his idols, the bluesman Muddy Waters, about making records. Waters directed him to the label he recorded for, Chess Records, where one of the owners, Leonard Chess, heard potential in Mr. Berry’s song “Ida Red.”
A variant of an old country song by the same name, “Ida Red” had a 2/4 backbeat with a hillbilly oompah, while Mr. Berry’s lyrics sketched a car chase, the narrator “motorvatin’” after an elusive girl. Mr. Chess renamed the song “Maybellene,” and in a long session on May 21, 1955, Mr. Chess and the bassist Willie Dixon got the band to punch up the rhythm.
“The big beat, cars and young love,” Mr. Chess outlined. “It was a trend and we jumped on it.”
The music was bright and clear, a hard-swinging amalgam of country and blues. More than 60 years later, it still sounds reckless and audacious.
To read full article, go to: https://www.nytimes.com/2017/03/18/arts/chuck-berry-dead.html
article by Cynthia Littleton via variety.com
A&E Network will mark the 25th anniversary of the Los Angeles riots next month with a two-hour documentary from filmmaker John Singleton. “L.A. Burning: The Riots 25 Years Later,” set to debut April 18, tells the story of the civil unrest that shook the nation from the perspective of those who lived through a week of upheaval following a jury’s acquittal of four Los Angeles Police Department officers charged in the 1991 beating of African-American motorist Rodney King.
King’s arrest and savage treatment at the hands of veteran LAPD officers was caught on videotape by a local resident who gave the incendiary footage to KTLA-TV Los Angeles. KTLA’s coverage and airing of the nine-minute recording depicting cops kicking and beating King with batons while he was lying on the ground set off a firestorm of outrage and protest over the LAPD’s treatment of minorities.
The incident coincided with the dawn of the 24/7 news cycle fueled by the growth of cable news and the spread of home video recording technology.Singleton, a native of Los Angeles, was fresh out of USC film school and had just launched his career as a movie director with 1991’s Oscar-nominated “Boyz n the Hood” when the riots erupted on April 29, 1992, the day acquittals of the four officers were handed down by a nearly all-white jury.
Five days of violence and unrest left at least 55 people dead, more than 2,000 injured and inflicted more than $1 billion in property damage.“I believe the 1992 L.A. uprising has never truly been given a voice until now,” Singleton said. “We’ve attempted to chronicle the untold stories and unique perspectives of people whose lives were profoundly affected by this event. As a native Los Angeleno I know the actions of that three-day event didn’t just appear out of thin air. The city was a powder keg boiling at the seams for many years under police brutality and economic hardship of people of color.”
Among those featured in the documentary are actor-activist Edward James Olmos, police officers, rioters, bystanders caught in the crossfire and reporters who covered the upheaval. “L.A. Burning” hails from Entertainment One and Creature Films. The doc is directed by One9 and Erik Parker.
“L.A. Burning” is one of several TV productions in the works to mark the anniversary of the violence that shook Los Angeles and the world. Filmmaker John Ridley is behind the two-hour ABC special “Let It Fall: Los Angeles 1982-1992,” set to air April 28. On April 18, Showtime will air the documentary “Burn Mother—–r Burn!,” examining the history of racial tensions and rioting in Los Angeles.
To read full article, go to: A&E Network Sets Los Angeles Riots ‘25 Years Later’ Documentary From John Singleton (EXCLUSIVE) | Variety