Sacramento – To celebrate the 150th Anniversary of the Buffalo Soldiers, an historic group of African American service members, California State Senator Tony Mendoza (D-Artesia) and State Senator Isadore Hall III (D–Compton), Chair of the Legislative Black Caucus, hosted a reception on June 6th in the State Capitol and presented Senate Concurrent Resolution 128, which recognizes the Soldiers for their unique contributions to the United States and its military.
“I am honored to recognize the great accomplishments and service of the Buffalo Soldiers. These men made history by breaking barriers and serving our country with honor and distinction during war and peacetime under tremendously challenging circumstances,” said Senator Tony Mendoza.
The Buffalo Soldiers were established on July 28, 1866 by an Act of Congress. It was officially known as the 9th and 10th Calvary regiment and was comprised of former slaves, free men, and black Civil War soldiers. The Buffalo Soldiers were the first African Americans to serve in the United States Army during peacetime.
Photo: AP / James Palmer; PA Images Charles Sykes/AP
article by Kyndal Wilson via blavity.com
Tony Award-winning actress Anika Noni Rosewill produce as well as starin a film about Shirley Chisholm, the first woman ever to run for the Democratic Party’s presidential nomination and the first major-party black candidate for President of the United States.
In 1968, she became the first African-American elected to Congress. Photo: Shadow and Act
The film was first announced in 2010 with Viola Davis attached to the project, but a producer of the project has confirmed Rose’s attachment to the project, which is currently in development. To read more, go to: http://blavity.com/anika-noni-rose-to-produce-and-star-in-a-shirley-chisholm-film/
article by Dave McNary via Variety.com Open Road Films has acquired all U.S. rights to “Marshall,” starring Chadwick Boseman as Supreme Court Justice Thurgood Marshall and Josh Gad as lawyer Sam Friedman.
Joining the previously announced cast are Kate Hudson, Dan Stevens, James Cromwell, Sterling K. Brown and Keesha Sharp (“The People v. O.J. Simpson: American Crime Story”). Reginald Hudlin (producer of “Django Unchained”) is directing and Paula Wagner (“Mission: Impossible,” “The Last Samurai”) is producing through her Chestnut Ridge Productions banner along with Jonathan Sanger (“The Elephant Man”) and Hudlin.
Financiers are Star Light Media Inc., Hero Film Ltd. and Sky Legend along with Hunter Ryan and David Ryan. Executive producers are Peter Luo and Belton Lee.
Sony Pictures Worldwide Acquisitions has all international distribution rights for “Marshall,” which began principal photography in Buffalo, New York, on May 23. The production is utilizing New York State’s Film Production Program.
“Marshall” is based on the young Marshall defending a black chauffeur in 1941 against his wealthy socialite employer in a sexual assault and attempted murder trial that quickly became tabloid fodder. Marshall was partnered with Friedman, a young Jewish lawyer who had never tried a case.
The screenplay is a collaboration between renowned trial lawyer Michael Koskoff and his son, screenwriter Jacob Koskoff (“Macbeth”).
The film is being produced with the full support of the Marshall and Friedman estates, including their children, John W. Marshall and Lauren Friedman.
Prince (photo via eurweb.com) article via eurweb.com
Move over Beyonce. Minnesota’s Governor Mark Dayton has officially declared Tuesday June 7, 2016 “Prince Day.” The move comes just weeks after the governor angered Prince fans by giving Beyonce, a Texas native, her own day in Minnesota before giving one to the state’s most famous musician.
Prince was born on June 7, 1958 in Minneapolis and passed away on April 21, 2016 at his Paisley Park home in Chanhassen, Minn. He would have been 58 tomorrow.
The governor encouraged all Minnesotans to wear purple in honor of Prince’s “enduring legacy,” in his proclamation. See below: Prince Day Proclamation WHEREAS: Prince (Rogers Nelson) was born on June 7, 1958 in Minneapolis, Minnesota; and WHEREAS: Prince’s artistry, music, and brand showcase his outstanding contributions to music and the arts and entertainment industry; and WHEREAS: Prince was one of the best-selling recording artists of all-time; a prominent singer, writer and multi-instrumentalist, he went on to create revolutionary music and an iconic identity, which later inspired a movie, known as Purple Rain; and WHEREAS: Prince was a seven-time Grammy Award winner and the winner of a Golden Globe, an Oscar, and multiple American Music Awards and Minnesota Black Music Awards, ultimately securing himself a spot in the Rock & Roll Hall of Fame. Prince was considered a music industry innovator, a mentor, and a humble philanthropist; and WHEREAS: Prince was the creator of uThe Minneapolis Sound,” a contribution not only to the global catalogue of music genres, but to Minnesota’s worldwide prominence and its economic growth; and WHEREAS: The untimely passing of Prince on April 21, 2016 impacted millions and has been marked with tributes and celebrations of his life and music across the world; and WHEREAS: Prince Day will be celebrated in Minnesota on June 7, 2016, Prince’s birthday; and WHEREAS: Minnesotans are encouraged to wear purple on Prince Day in honor of The Purple One’s enduring legacy. NOW, THEREFORE, I, MARK DAYTON, Governor of Minnesota, do hereby proclaim Tuesday, June 7, 2016, as: PRINCE DAY
View the actual Prince Day proclamation here.
“Untitled” (Harlem, New York), 1952 (THE GORDON PARKS FOUNDATION) article by Tamara Best via nytimes.com
Masters of their fields, the photographer Gordon Parks and the writer Ralph Ellison bonded over a shared vision of using their creative talents to address racial injustice. That commitment led to the powerful, enduring 1952 photo essay“A Man Becomes Invisible.”
But that Life magazine project was not their only collaboration. A new exhibition, “Invisible Man: Gordon Parks and Ralph Ellison in Harlem,” for the first time shows images from a lesser-known 1948 project of theirs, “Harlem Is Nowhere.” On view through Aug. 28 at the Art Institute of Chicago, the exhibition offers the two men’s counternarrative (the reality, that is) of the living conditions of black Americans during that time. Among the show’s more than 50 objects — the known surviving material belonging to both “A Man Becomes Invisible” and “Harlem Is Nowhere” — are newly discovered images, photographs that have never been exhibited and items that had not been definitely identified as belonging to either project.
The black-and-white photographs are vignettes of life in Harlem: street scenes of adults and children; political advocacy in real time; and imagined scenes from “Invisible Man,” Ellison’s watershed 1952 novel. The photographs are placed next to the passages that correspond with them, giving a sense of the tight collaborative process. Among the other highlights are drafts of captions for “Harlem Is Nowhere,” and images include a man in an alleyway; Harlem in literal ruin with a clinic building acting as a bright light; and a patient waiting to be seen, sitting in solitude, head in his hands.
Ellison and Parks “lived parallel lives, and they intersect in a creative splendor,” Adam Bradley, an associate professor at the University of Colorado, Boulder, who has written about Ellison’s work, said in a telephone interview. “They both understood the capacity of dark and light, light and shadow, black and white.”
These artists were compelled to focus on Harlem, their adopted home, which despite being the center of a cultural revival during the Harlem Renaissance, suffered a great economic toll tied to the Depression. They also witnessed the mounting postwar frustrations among their neighbors, black men who had been enlisted to fight but whose freedoms remained limited upon their return home.
Muhammad Ali, the three-time world heavyweight boxing champion who helped define his turbulent times as the most charismatic and controversial sports figure of the 20th century, died on Friday. He was 74.
His death was confirmed by Bob Gunnell, a family spokesman.
Ali was the most thrilling if not the best heavyweight ever, carrying into the ring a physically lyrical, unorthodox boxing style that fused speed, agility and power more seamlessly than that of any fighter before him.
But he was more than the sum of his athletic gifts. An agile mind, a buoyant personality, a brash self-confidence and an evolving set of personal convictions fostered a magnetism that the ring alone could not contain.
Ali was as polarizing a superstar as the sports world has ever produced — both admired and vilified in the 1960s and ’70s for his religious, political and social stances. His refusal to be drafted during the Vietnam War, his rejection of racial integration at the height of the civil rights movement, his conversion from Christianity to Islam and the changing of his “slave” name, Cassius Clay, to one bestowed by the Nation of Islam, were perceived as serious threats by the conservative establishment and noble acts of defiance by the liberal opposition.
Loved or hated, he remained for 50 years one of the most recognizable people on the planet.
In later life Ali became something of a secular saint, a legend in soft focus. He was respected for having sacrificed more than three years of his boxing prime and untold millions of dollars for his antiwar principles after being banished from the ring; he was extolled for his un-self-conscious gallantry in the face of incurable illness, and he was beloved for his accommodating sweetness in public.
That passive image was far removed from the exuberant, talkative, vainglorious 22-year-old who bounded out of Louisville, Ky., and onto the world stage in 1964 with an upset victory over Sonny Liston to become the world champion. The press called him the Louisville Lip. He called himself the Greatest.
Ali also proved to be a shape-shifter — a public figure who kept reinventing his persona.
As a bubbly teenage gold medalist at the 1960 Olympics in Rome, he parroted America’s Cold War line, lecturing a Soviet reporter about the superiority of the United States. But he became a critic of his country and a government target in 1966 with his declaration “I ain’t got nothing against them Vietcong.”
“He lived a lot of lives for a lot of people,” said the comedian and civil rights activist Dick Gregory. “He was able to tell white folks for us to go to hell.”
If there was a supertitle to Ali’s operatic life, it was this: “I don’t have to be who you want me to be; I’m free to be who I want.” He made that statement the morning after he won his first heavyweight title. It informed every aspect of his life, including the way he boxed.
The traditionalist fight crowd was appalled by his style; he kept his hands too low, the critics said, and instead of allowing punches to “slip” past his head by bobbing and weaving, he leaned back from them.
Eventually his approach prevailed. Over 21 years, he won 56 fights and lost five. His Ali Shuffle may have been pure showboating, but the “rope-a-dope” — in which he rested on the ring’s ropes and let an opponent punch himself out — was the stratagem that won the Rumble in the Jungle against George Foreman in 1974, the fight in Zaire (now the Democratic Republic of Congo) in which he regained his title.
The original mini-series “Roots” was about history, and it was history itself. Airing on ABC in January 1977, this generational saga of slavery was a kind of answer song to the 1976 Bicentennial celebration of the (white, often slave-owning) founding fathers. It reopened the books and wrote slaves and their descendants into the national narrative.
But as an event, it was also a chapter in that story. It shaped and was shaped by the racial consciousness of its era. It was a prime-time national reckoning for more than 100 million viewers. As a television drama, it was excellent. But as a television broadcast, it was epochal.
The four-night, eight-hour remake of “Roots,” beginning Memorial Day on History, A&E and Lifetime, is largely the same story, compressed in some places and expanded in others, with a lavish production and strong performances. It is every bit as worthy of attention and conversation. But it is also landing, inevitably, in a very different time.
Viewers who watched “Roots” four decades ago have since lived with racial narratives of moving forward and stepping back. They’ve seen America’s first black president elected and a presidential candidate hesitate to disavow the Ku Klux Klan.
So in timing and spirit, this is a Black Lives Matter “Roots,” optimistic in focusing on its characters’ strength, sober in recognizing that we may never stop needing reminders of whose lives matter.
The first new episode, much of it shot in South Africa, looks stunning, another sign of the cultural times. Kunta Kinte (Malachi Kirby, in the role made famous by LeVar Burton) is now not a humble villager but the scion of an important clan, and his home — Juffure, in Gambia — a prosperous settlement. Kunta is captured by a rival family and sold into slavery to a Virginian (James Purefoy), by way of a harrowing Middle Passage.
Mr. Kirby’s Kunta is a more regal and immediately defiant character than Mr. Burton’s. But his tragedy is the same: He rebels but fails and is beaten into accepting his slave name, Toby. The name — the loss of identity — is as much a weapon as the whip. As the overseer who beats him puts it: “You can’t buy a slave. You have to make a slave.”
Kunta stops running, but he preserves his traditions, including the practice of presenting a newborn baby to the night sky with the words, “Behold, the only thing that is greater than you.”
That theme of belonging to something larger, of the ancestral family as a character in itself, is essential to “Roots.” Although Alex Haley fictionalized the events of his novel on which the mini-series is based, his story offered black Americans what slavery was machine-tooled to erase: places, dates, names, memories. And that focus keeps the ugliness — the racial slurs, the gruesome violence — from rendering this series without hope. A person may live and die in this system, but a people can survive it.
Still, the individual stories remain heartbreaking, even in small moments, as when the slave musician Fiddler (a soulful Forest Whitaker) recognizes a Mandinka tune he overhears Kunta singing. He’s moved — and, it seems, a little frightened by what the recognition stirs in him. As much as he’s worked to efface his heritage as a survival strategy, it lingers, a few notes haunting the outskirts of his memory.
Kunta’s daughter, Kizzy (E’myri Lee Crutchfield as a child, Anika Noni Rose as an adult), is teased with the possibility of a better life; she grows up friends with the master’s daughter and learns to read. But she’s sold to Tom Lea (Jonathan Rhys Meyers), a struggling farmer who rapes and impregnates her. Rape — there are several assaults in this series — is another weapon against identity, another way you make a slave. Ms. Rose burns with Kizzy’s determination to hang on to her sense of self.
Janelle Monae (i)Taraji P. Henson (m)and Octavia Spencer (r) and star in “Hidden Figures,” a largely untold story of African-American mathematicians in the space program. (photo via nytimes.com)
ATLANTA — Taraji P. Henson hates math, and Octavia Spencer has a paralyzing fear of calculus, but that didn’t stop either actress from playing two of the most important mathematicians the world hasn’t ever known.
Both women are starring in “Hidden Figures,” a forthcoming film that tells the astonishing true story of female African-American mathematicians who were invaluable to NASA’s space program in the Jim Crow South in the early 1960s.
Ms. Henson plays Katherine Johnson, a math savant who calculated rocket trajectories for, among other spaceflights, the Apollo trips to the moon. Ms. Spencer plays her supervisor, Dorothy Vaughan, and the R&B star Janelle Monáe plays Mary Jackson, a trailblazing engineer who worked at the agency, too.
Slated for wide release in January, the film is based on the book of the same title, to be published this fall, by Margot Lee Shetterly. The author grew up knowing Ms. Johnson in Hampton, Va., but only recently learned about her outsize impact on America’s space race.
Janelle Monae (i)Taraji P. Henson (m)and Octavia Spencer (r) and star in “Hidden Figures,” a largely untold story of African-American mathematicians in the space program. (photo via nytimes.com)
ATLANTA — Taraji P. Henson hates math, and Octavia Spencer has a paralyzing fear of calculus, but that didn’t stop either actress from playing two of the most important mathematicians the world hasn’t ever known.
Both women are starring in “Hidden Figures,” a forthcoming film that tells the astonishing true story of female African-American mathematicians who were invaluable to NASA’s space program in the Jim Crow South in the early 1960s.
Ms. Henson plays Katherine Johnson, a math savant who calculated rocket trajectories for, among other spaceflights, the Apollo trips to the moon. Ms. Spencer plays her supervisor, Dorothy Vaughan, and the R&B star Janelle Monáe plays Mary Jackson, a trailblazing engineer who worked at the agency, too.
Slated for wide release in January, the film is based on the book of the same title, to be published this fall, by Margot Lee Shetterly. The author grew up knowing Ms. Johnson in Hampton, Va., but only recently learned about her outsize impact on America’s space race.
Denzel and Pauletta Washington with their children during a presentation at the Golden Globe Awards Jan. 10, 2016, in Beverly Hills, Calif. (PAUL DRINKWATER/NBCUNIVERSAL VIA GETTY IMAGES)
article by Yesha Callahan via theroot.com
When you have as much star power and influence as Denzel Washington and Pauletta Washington, and it’s put to good use, amazing things happen. While Barack Obama was giving his final White House Correspondents’ dinner speech Saturday night, the Washingtons were throwing a lavish party with some of Hollywood’s biggest names, all in support of the Smithsonian National Museum of African American History and Culture, which opens later this year.
The fundraiser was an effort to secure the final monies needed for the museum, and needless to say, when the Washingtons put out a call, their friends have no problem donating. The museum’s total cost amounts to $540 million, and so far, the government has contributed $270 million with the remainder coming in from events like the Washingtons’. According to Variety, Saturday night’s soiree raised $17 million and included a pledge of $10 million from Shonda Rhimes.
“There is such a historical significance to this project,’’ said Denzel Washington. “It means so much for our community, our country and to future generations.’’ Magic Johnson closed the event with words that I’m sure resonated with everyone in attendance. “We have to get everyone involved in this, making this a success,’’ said Johnson.
