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
Posts published in “History”
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
article via shadowandact.com
The Film Foundation is a nonprofit organization established in 1990 dedicated to protecting and preserving motion picture history. By working in partnership with archives and studios, the foundation has helped to restore over 750 films, which are made accessible to the public through programming at festivals, museums, and educational institutions around the world.
The Film Foundation’s World Cinema Project has restored 28 films from 20 different countries representing the rich diversity of world cinema. In addition, the foundation’s free educational curriculum, “The Story of Movies,” teaches young people – over 10 million to date – about film language and history.
Martin Scorsese is the founder and chairman of The Film Foundation which today announced what it calls the African Film Heritage Project, created to do what is very necessary work – locate, restore, and preserve African films; many of which are seemingly *lost* to history, or just not widely accessible and could greatly benefit from restoration and re-release/re-discovery.
African cinema history is deeper than many outside of the continent might realize. But, as has been noted on this blog in the past, some of the older films are impossible to get one’s hands on, unless made by the continent’s higher profile filmmakers like the late Ousmane Sembene.
The project is in partnership with the Pan African Federation of Filmmakers (FEPACI) and UNESCO. Said Scorsese during the announcement: “There are so many films in need of restoration from all over the world. We created the World Cinema Project to ensure that the most vulnerable titles don’t disappear forever. Over the past 10 years the WCP has helped to restore films from Egypt, India, Cuba, the Philippines, Brazil, Armenia, Turkey, Senegal, and many other countries. Along the way, we’ve come to understand the urgent need to locate and preserve African films title by title in order to ensure that new generations of filmgoers — African filmgoers in particular — can actually see these works and appreciate them.”
As Cheick Oumar Sissoko, FEPACI secretary general (and a Malian filmmaker), notes: “Africa needs her own images, her own gaze testifying on her behalf, without the distorting prism of others, of the foreign gaze saddled by prejudice and schemes. We must bear witness to this cradle of humanity which has developed a rich and immense human, historical, cultural and spiritual patrimony.”
This will certainly go a long way towards making African films – especially classics of African cinema – widely accessible, and hopefully help fuel budding filmmakers across the continent.
To read full article, go to: Martin Scorsese’s Film Foundation Launches African Film Heritage Project to Restore 50+ African Films – Shadow and Act
article via huffingtonpost.com
The pop culture landscape is littered with lazy images of black women ― the nurturer, the hussy, the angry bitch. Hovering around the all-encompassing myth of the “strong black woman,” those paper-thin characterizations fail to represent real women in all their complexity and vulnerability.
Despite the monolithic representations that appear so often in TV series, advertisements, films and the imaginations of those who digest them, artists have long worked to provide images that speak to the depth and sweet fallibility of all human beings ― black women included.
An exhibition at the Alexandria Museum of Art, titled “Beyond Mammy, Jezebel, & Sapphire: Reclaiming Images of Black Women,” deconstructs the limiting categorizations mainstream culture allows black women. The artists on view reveal the shoddy nature of the stereotypes in favor of challenging, poetic and thorough visualizations of black culture ― the myth, the archetype, the self-portrait and beyond.
Characterizations commonly ascribed to black women in America are both historical and insidious. The Mammy ― a big-bosomed, jolly mother figure ― was written fictitiously into history to make slavery appear more humane. Her illusory existence suggested that there could, in fact, be such a thing as a happy slave. Today, the Mammy is often framed as a sexless, selfless nurturer.
Then there’s the Jezebel ― an overly sexualized, promiscuous black woman ― with a similarly atrocious origin story: her image was used to justify the sexual violence systematically inflicted upon black women in the antebellum South. Its influence persists to this day, making it more difficult for rape allegations by black women to be taken seriously.
And finally, the show addresses the image of Sapphire, named for the one-dimensional character on the radio and TV show “Amos ‘n’ Andy” ― an angry black woman. This cultural generalization, too, is a corollary of slavery and oppression. It calls back to a time when history overlooked the atrocities committed against black families and suggests instead that black women are inherently hostile, a foil to the delicate femininity of white women.
article by Lori Lakin Hutcherson (follow @lakinhutcherson)
Sarah Randolph Bailey, born 1885 in to freed slaves, was a longtime educator and missionary who saw the value in troubled young girls and volunteered her time to provide guidance.
After earning her teaching degree and working at a rehabilitation and detention center for girls in Macon, Georgia, Bailey had the vision to organize young women for the Young Women’s Christian Association’s (YWCA) Girl Reserves group.
In 1935, Bailey gathered informal groups of Black girls and started giving them the opportunity to learn life skills and lessons, much like their white counterparts in the Girl Scouts. After organizing some 15 Girl Reserve troops in Georgia, Girl Scouts, U.S.A. took notice and invited Bailey to organize the first Black Girl Scouts troop in Macon. (The Girl Scouts started integrating troops in 1913 and the first African-American troop formed in 1917.) Bailey’s group was formally introduced as official Scouts in 1948.
“I shall be rewarded on Earth according to the way I’ve lived. To me, a healthy body, sound mind, and equal opportunities mean more than wealth; and happiness and success are the products of our gifts to the world and of our fairness and sincerity to ourselves and others.” — Sarah Randolph Bailey
Bailey was also named the chairwoman for the Macon Girl Scout’s Central Committee and earned the “Thanks” badge, the Scouts’ highest honor given to an adult. In 1961, a permanent campsite was named in her honor. She also worked as a district and council leader before passing in 1972. In 1994, The Macon Girl Scouts Center was renamed the Sarah Bailey Service Center. She was also the subject of a dedicated exhibit at Macon’s Tubman Museum in 2014.
A video about Bailey’s life and service to helping shape and empower young women can be seen here.
Original source: Little Known Black History Fact: Sarah Bailey | Black America Web
article by Noah Remnick via nytimes.com
After a swelling tide of protests, the president of Yale announced today that the university would change the name of a residential college commemorating John C. Calhoun, the 19th-century white supremacist statesman from South Carolina. The college will be renamed for Grace Murray Hopper, a trailblazing computer scientist and Navy rear admiral who received a master’s degree and a doctorate from Yale.
The decision was a stark reversal of the university’s decision last spring to maintain the name despite broad opposition. Though the president, Peter Salovey, said that he was still “concerned about erasing history,” he said that “these are exceptional circumstances.”
“I made this decision because I think it is the right thing to do on principle,” Mr. Salovey said on a conference call with reporters. “John C. Calhoun’s principles, his legacy as an ardent supporter of slavery as a positive good, are at odds with this university.”
Mr. Salovey and the other members of the Yale Corporation, the university’s governing body, made their decision after an advisory committee unanimously recommended the renaming. The school is still determining when exactly the change will be carried out, but Mr. Salovey said it would be by fall at the latest.
article via theguardian.com
Cornell University in New York has made a priceless photographic archive available to the public. It shows the lives of black Americans as they rose through society after the antebellum era. To see all photographs, go to: Loewentheil Collection of African American Photographs
To see original article, go to: A taste of freedom: black America in the 19th century – in pictures | Art and design | The Guardian
article via ShadowAndAct.com
To cultivate kids’ deeper interest in history and inspire them to feel their own significance in the present and future, stories about distinguished men and women including the Tuskegee Airmen Chief Civilian flight instructor Charles Alfred “Chief” Anderson, the history-making commercial airline pilot Stephanie R. Grant, animator and Disney legend Floyd Norman, and physician, role model and activist Dr. Myiesha Taylor, will be presented as part of Disney|ABC Television Group’s “Be Inspired” interstitial series during Black History Month on Disney Channel, Disney XD and Disney Junior.
Paul DeBenedittis, senior vice president, Programming Strategy, Disney Channels Worldwide, said, “As television programmers, we work every day to better serve our kid viewers by reflecting the diverse and varied world they live in, and our ‘Be Inspired’ programming is designed to give them access to stories that can spark their deeper exploration into the rich and celebrated history of African Americans.”
The initiative begins with the story of acclaimed African-American pilot Charles Alfred “Chief” Anderson Sr., known as the “Father of Black Aviation” for his brave and innovative leadership as Chief Civilian Flight Instructor for the Tuskegee Airmen. The story, hosted by Nathaniel Potvin (Disney XD’s “MECH-X4”), originates from the non-profit Tomorrow’s Aeronautical Museum in Compton, California, and includes the museum’s founder and executive director Robin Petgrave, Ted Lumpkin of the Tuskegee Airmen 100th Fighter Squadron, and Kimberly Anyadike, the youngest African-American female to pilot an airplane across the United States. Geared toward kids age 6-14, the interstitial began airing Weds, Feb 1, on Disney Channel and Disney XD.
For younger viewers (age 2-7), Doc McStuffins, the title character from the acclaimed animated series, introduces notable women and men in a series of interstitials to be presented on Disney Junior. They are Stephanie R. Grant, a pilot who led the first all-female African-American flight crew to operate a commercial airliner; Disney legend Floyd Norman, one of the first African-American animators at Walt Disney Studios during the 1950s; and Dr. Myiesha Taylor, an emergency doctor and founder of the Artemis Medical Society, an organization comprised of over 4700 women physicians of color from around the world. Disney Junior and Disney Channel will debut the interstitials beginning Weds, Feb, 8.
To read more, go to: Inspiring Stories of Distinguished African Americans to be Presented During Black History Month on Disney Channels – Shadow and Act
article by Associated Press via nbcnews.com
Federal parks officials have formally established the Harriet Tubman National Historical Park in upstate New York. Members of the state’s congressional delegation joined U.S. Interior Secretary Sally Jewell in Washington, D.C., for the official signing ceremony last month that makes the park part of the National Park Service system. It encompasses the site of Tubman’s old home on the outskirts of Auburn, about 25 miles west of Syracuse, and a nearby church where she worshipped.
The New York park will focus on Tubman’s work later on in her life when she was an active proponent of women’s suffrage and other causes. It will be a sister park to the Harriet Tubman Underground Railroad National Historical Park in Maryland.
“These two parks preserve and showcase a more complete history of one of America’s pivotal humanitarians who, at great personal risk, did so much to secure the freedom of hundreds of formerly enslaved people,” Secretary Jewell said. “Her selfless commitment to a more perfect union is testament that one determined person, no matter her station in life or the odds against her, can make a tremendous difference.”
To read full article: Harriet Tubman National Historical Park Becomes Reality – NBC News