It is no secret that many African-American women are not deemed to be very well-represented, or at the forefront in terms of publicity, when it comes to STEM (Science, Technology, Engineering and Math) related jobs and advancements. Due to this “finding,” many companies in these industries, such as Google and Non-Profits such as MotherCoders have started programs and initiatives to aid women and minorities in the pursuit to learn coding.
I will admit, I am am not technologically savvy. The only thing I know about computers, technology, apps and coding, is that if I have a question about anything remotely pertaining to the previously mentioned, I ask Arisha Smith, Vice President of Marketing at Pigeonly, a tech startup in the downtown Las Vegas tech hub that got its start through the Silicon Valley-based NewMe Accelerator program.
As many business owners have leaned on the internet, apps and other new found technologies to build, increase and further their businesses, I still reach out to Arisha to gain an understanding of how technology can help not only my practice, but also the business ventures of my clients.
When I asked Arisha to explain the importance of women garnering an interest in technology and ultimately learning coding, she offered the following:
“Knowing how to code trains your mind to think logically and process bite sized tasks in order to achieve a larger end goal. Understanding the backbone of technology, which is programming, accelerates a woman’s path to leadership in organizations, especially in forward-thinking companies.”
She further states, “You’re able to get right to the point when directing or managing projects with cross functional teams because you eliminate the need for the tech guys to feel the need to ‘break down concepts’ for you. It also allows you the ability to call folks out on their BS and keep projects afloat.”
If you, or any young woman you know, are interested in learning how to code, click here for several programs that may assist you.
article by Rashida Maples, Esq. via hellobeautiful.com
Posts published in “Opinion”
First and foremost, all of us at Good Black News are heartbroken over the loss of the nine precious lives taken this week by senseless, hateful murder at Emanuel African Methodist Episcopal Church in Charleston, South Carolina, and our sympathies and prayers go out to the families and loved ones most acutely affected by this domestic terrorism.
Even though you may already know the names of the unintended martyrs, they bear repeating, and often, so we never forget: Rev. Clementa Pinckney, Cynthia Hurd, Susie Jackson, Tywanza Sanders, Sharonda Coleman-Singleton, Daniel L. Simmons, Ethel Lee Lance, Myra Thompson, and Rev. Depayne Middleton-Doctor.
We call them martyrs because they are now part of the unfortunately long lineage of named and unnamed African-Americans subjected to racially-motivated violence in the United States. From enslaved persons who died on slave ships in the Middle Passage, to persons enslaved in the colonies, to Reconstruction, to the Jim Crow era, to the Civil Rights movement and up through today, the pattern is plain: you are black, you are hated, your life doesn’t matter, you die violently.
I have spent a lot of time this past week reading and watching coverage of this national tragedy, not only to gather as much information as possible, but also to process and attempt to think of the right words to share on how to move forward in a positive manner, as that is overriding philosophy and mission of Good Black News. I do think it is crucial first, however, to talk about WHERE this happened, HOW it happened and WHY it happened.
As everyone knows by now, South Carolina so proudly claims its antebellum history that the Confederate flag still flies on its State Capitol building. The battle at Fort Sumpter in 1861, right outside of Charleston, which occurred not long after South Carolina seceded from the Union, set off the Civil War.
Tourist shops in Charleston casually sell merchandise such as mammy magnets and confederate bumper stickers, which are symbols of racial oppression to my eyes, but symbols of “the good ol’ days” to others.
The other “where” in this situation is specifically the Emanuel AME Church. The history of this church is steeped in the fight for African-Americans to create their own place of worship and the freedom to express their humanity.
One of the church founders, Denmark Vesey, attempted in 1822 to organize a slave rebellion from this space, which, although thwarted, created mass hysteria among the slave owners in the Carolinas and lead to the church being burned. It has been rebuilt several times and stands as a consistent symbol of black pride, resistance and fortitude. So the choice of this place for this action makes it clear this was a targeted, racially-motivated attack.
On Wednesday night, in the spirit of fellowship, church members welcomed Dylann Roof, the unfamiliar stranger who would become their assassin, to join and participate in their bible study.
He took advantage of their compassion and open hearts to forward a racist agenda that is centuries-old and still pervasive in the DNA of this country, and particularly so in South Carolina and the South.
In the 1960s, people didn’t call the killers of Emmett Till, Medgar Evers, Martin Luther King, Jr., or the four African-American girls in the 16th Street Baptist Church bombing in Birmingham, Alabama “mentally insane.” They called them what they were – Klan members and/or racists. Regardless of whether or not Roof has mental problems, his racism and desire for racial supremacy is the primary motivation behind his actions.
So, clearly knowing all of that, what are some positive, actionable ways we can move forward as a nation, in our communities and in our personal lives from this horrific event?
- Petition/protest/vote for removals of all symbols of oppression and hate from government buildings, streets, tourist centers and shops.
- Contribute to the donation fund set up for the families of the victims of the Emanuel AME shootings.
- Support/join organizations such as the NAACP, ACLU or the National Urban League, that are dedicated to protesting racial injustice and empowering minorities.
- Educate all children of all colors and creeds about the racial history of the United States from slavery to the present and call it what it is. Visit civil rights museums. Read, know and learn the history. Just as Jewish peoples around the world make sure each generation “never forgets” the Holocaust – so should we never forget about American racial injustice.
- Keep calling out and protesting current injustices – we need to keep filming and reporting and being sources for unjust police actions, racial disparities in the workplace and even in our personal conversations. Let’s not be Roof’s friend Joseph Meek Jr.,who now regrets not checking his friend more thoroughly about his racist vitriol.
- Love. Find forgiveness in our hearts just as the family members of several of the victims are doing for the assailant. Meeting hate with hate solves nothing.
by Lori Lakin Hutcherson, Good Black News Founder and Editor-in-Chief
You’re not supposed to go on the Internet when you’re cast as a superhero. But after taking on Johnny Storm in Fantastic Four—a character originally written with blond hair and blue eyes—I wanted to check the pulse out there. I didn’t want to be ignorant about what people were saying. Turns out this is what they were saying: “A black guy? I don’t like it. They must be doing it because Obama’s president” and “It’s not true to the comic.” Or even, “They’ve destroyed it!”
It used to bother me, but it doesn’t anymore. I can see everybody’s perspective, and I know I can’t ask the audience to forget 50 years of comic books. But the world is a little more diverse in 2015 than when the Fantastic Four comic first came out in 1961. Plus, if Stan Lee writes an email to my director saying, “You’re good. I’m okay with this,” who am I to go against that?
Some people may look at my casting as political correctness or an attempt to meet a racial quota, or as part of the year of “Black Film.” Or they could look at it as a creative choice by the director, Josh Trank, who is in an interracial relationship himself—a reflection of what a modern family looks like today.
This is a family movie about four friends—two of whom are myself and Kate Mara as my adopted sister—who are brought together by a series of unfortunate events to create unity and a team. That’s the message of the movie, if people can just allow themselves to see it.
Sometimes you have to be the person who stands up and says, “I’ll be the one to shoulder all this hate. I’ll take the brunt for the next couple of generations.” I put that responsibility on myself. People are always going to see each other in terms of race, but maybe in the future we won’t talk about it as much. Maybe, if I set an example, Hollywood will start considering more people of color in other prominent roles, and maybe we can reach the people who are stuck in the mindset that “it has to be true to the comic book.” Or maybe we have to reach past them.
To the trolls on the Internet, I want to say: Get your head out of the computer. Go outside and walk around. Look at the people walking next to you. Look at your friends’ friends and who they’re interacting with. And just understand this is the world we live in. It’s okay to like it.
[youtube https://www.youtube.com/watch?v=POBI7OhGB18&w=560&h=315]
article by Michael B. Jordan via ew.com
When I saw this morning via Twitter that President Barack Obama had recorded a video message wishing all Americans a happy holiday weekend (Easter, Passover, or whatever you choose to celebrate), I was excited about posting it. When I started watching it however, I was concerned about the lack of separation of church and state in the President’s speech.
While I support his right to acknowledge his personal affiliation with Christianity, I was hoping for a more universal message from this very diverse nation’s leader. Fortunately that finally came about 1:30 into the video, so I am quoting that as the message we here at GBN want to promote and amplify this Easter as it is inclusive of everyone:
Easter is a day of hope. A season of hope. It’s a re-affirmaton of our beliefs… as Americans that better days are always ahead of us. Whether we’re Christian, Jewish, Muslim, Sikh, Hindu or Buddhist, whether faith and God shapes our daily lives completely or not at all, we believe with common effort and shared sacrifice, a brighter future is just around the bend. And we embrace our obligation to do something meaningful, something lasting, with the precious time we’ve been alloted on this Earth.
To see Obama’s message in its entirety, play it below.
Happy Easter!
Lori Lakin Hutcherson, GBN Founder and Editor-in-Chief
[youtube https://www.youtube.com/watch?v=lsOLd_2OitQ&w=560&h=315]
Once a term to describe the laudable aim of ensuring equal representation, “diversity” has devolved into a trite talking point.
It’s an issue that Shonda Rhimes, the mastermind behind television hits such as Scandal, Grey’s Anatomy and How To Get Away With Murder, touched on while accepting an award at the Human Rights Campaign’s gala event in Los Angeles last weekend. In her speech, Rhimes said she’s tired of the way “diversity” is understood by most people.
“I get asked a lot by reporters and tweeters why I am so invested in ‘diversity’ on television,” Rhimes said, according to Medium‘s text of her speech. “‘Why is it so important to have diversity on TV?’ they say. I really hate the word ‘diversity.’ It suggests something other. … As if there is something unusual about telling stories involving women and people of color and LGBTQ characters on TV.”
Rhimes offered an alternative to the term “diversity,” saying she’d rather describe what she’s doing as “normalizing.”
“I am making TV look like the world looks. Women, people of color, LGBTQ people equal way more than 50% of the population. Which means it ain’t out of the ordinary. I am making the world of television look normal,” she said.
Rhimes makes a great point.
“Diversity” in itself has limits. In the past few decades, the word has become wildly popular, appearing everywhere from corporate websites to college recruitment brochures. In many cases, however, the concept is reduced to simply ensuring that a collection of people who look different from each other occupy the same space. That’s why many diversity fliers for companies and schools paint a picture of wide representation, but the actual demographics of those same institutions remain monochromatic.
One Tumblr artist struck a nerve when she re-imagined the main characters from “Frozen” as Black girls. Here’s why haters need to find their chill.
Earlier this week, I saw some “Frozen” fan art from Brazilian artist Juliajm15 that gave me all of the warm fuzzies. It depicted the sisters Queen Elsa and Princess Anna as young Black women in remixed scenes. Julia didn’t just dip the original characters in chocolate, either! She gave her recreations afro-centric features and gloriously curly hair. Not only that, but that art style was so close to Disney’s traditional animation that it looked like concept art for film. It. Was. Everything!
When Buzzfeed posted the pieces online, it pointed to the “absolutely stunning” pics as an example of racebending. For those unfamiliar with the word “racebending,” it’s a term born of the egregious white‑washing in M.Night Shyamalan’s “The Last Airbender.” It was based on Nickelodeon’s hit cartoon “Avatar: The Last Airbender,” and the main characters that were obviously meant to be Brown and Asian were played by Caucasian actors. Shocker: all of the villains were Brown people. It’s not that M.Night couldn’t cast Asian actors that would better resemble the characters on the TV show, though, because he had plenty of them running through the background.
Anyway, many from the digital community have put the idea of racebending on its head by creating ethnic versions of their favorite characters from books, film and TV. It’s a fairly common practice among online artists. Julia, in particular, has gone on a run of re-doing Disney heroines with an Indian version of Rapunzel and a Latina incarnation of Merida from “Brave.” Her work is flaw-free. Go check it out. You will live for her human version of Nala.
It’s all for fun, but some Disnephiles are not feeling her vision. There are grown people having full-on conniptions over someone drawing the characters as Black. The problem for them, supposedly, is that her art is not accurate to the fable’s Scandanavian origins. There will be privilege-laced arguments–nasty little flame wars–all to defend the idea that the characters should remain as originally created…which is White. To that, I say, “Girl, bye.” God forbid anyone should use their creativity to imagine the beloved characters as an under-represented segment of society.
Julia’s not suggesting that Disney should re-do the movies to include Black people. She’s creating a reflection of herself (and many little girls that love Disney movies) that is missing from the cultural landscape in a fun little project. People want to see a piece of themselves in the art that they enjoy. In an odd way, it’s a form of validation that people who look like you matter, and that you can be an important part of a larger narrative. And in the case of Disney films, there has not been a great track record of having Black characters in their feature animation films. It took Disney 72 yeas to put a Black princess on screen. When we finally did get one with “The Princess And The Frog,” they turned her into an animal for a majority of the film. I love the movie, but WTF! That’s only after having two movies set in Africa with not one Black character in them (“The Lion King” and “Tarzan”).
However, this is not just a problem limited to Disney. It is still a huge surprise when people of color (whether Black, Asian or Latino) are present in the main cast of anything. Whenever a new project is announced, I find myself looking to see if there are any Black characters in the cast. Not that the lack of having a Black person on the cast will keep me from seeing the project, but there is still a twinge of disappointment when I do watch.
As a handsome period miniseries, “The Book of Negroes,” which premieres tonight on BET and continues through Wednesday, is a first for a network whose original offerings have often seemed something less than ambitious. That the miniseries is Canadian-made, based on a novel by African Canadian author Lawrence Hill, who co-wrote the screenplay with Jamaican-born Canadian director Clement Virgo, is noteworthy but does not diminish the moment. What would PBS be without the BBC?
The series’ provenance does mean that, as a story of slavery and escape from slavery, it differs in substance and theme from American tellings. The road here, which begins in Mali in 1761 and ends in London in 1807, runs through snowy Nova Scotia (by way of South Carolina, New York and Sierra Leone); in its recounting of the American Revolution, from the black (and Commonwealth) perspective, the British are better than villains and the colonists not quite heroes.
“The Book of Negroes,” which refers to a historical ledger of colonial African Americans granted freedom by the British for their help in the war, is itself a paean to names, words, storytelling and literacy, as containers of the past, organizers of the present and keys to the future. Its heroine is Aminata Diallo (Aunjanue Ellis, “The Help”), the bright, independent child of bright, independent parents; she has been trained as a midwife but dreams of being a jeli, or griot, an oral historian of her people.
The first hour, which follows Aminata from Mali to South Carolina, is the series’ most original and compelling. It’s powered by a deep, serious and at surprising times sweet performance by Shailyn Pierre-Dixon, now 11, who plays the young Aminata. The scenes in which she is captured and hustled on her way, through one strange experience after another, toward American slavery, have a sharp-focus dreaminess to them, a kind of horrible beauty. With little exposition, seen as they are from the point of view of one lacking words or context, they feel less played than lived through.
As the series progresses and history moves more swiftly by, its points are made more explicitly; the ironies float on the surface. (Colonial white Americans describe themselves as “slaves” to the British.) For some characters, the story arcs, whether of sin and redemption or of just desserts finally served, are fairly mathematical — sometimes at the expense of an emotional payoff. The story stays novel enough, nevertheless, and the understated tone of the production and performances keep the drama grounded. Hill and Virgo catch the ordinariness even in the awfulness — the creepy dailiness of the business of slavery, and the capability of those who profit from it to regard themselves just and even tender people. In the same way, to the opposite effects, they allow their protagonists daily lives and love; they are not victims all the time.
At the same time, “The Book of Negroes” is an adventure story, a straight-up classic romance. Lyriq Bent plays Chekura, Aminata’s longtime love interest.
The heroine’s fearless and clever character, the self-knowledge and self-possession her tormentors lack, and her gift for survival are fixed from first to last. She is sometimes thwarted but never altered. If this makes “The Book of Negroes” less psychologically complex than it otherwise might be, there are real pleasures and comforts to be had from it.
“The most capable woman I’ve ever seen,” New York innkeeper Sam Fraunces (Cuba Gooding Jr.), of Fraunces Tavern fame, calls her. (There is an old tradition, without much scholarly support, that Fraunces, who was nicknamed Black Sam, was of African descent; in any case, Hill goes with it.) Aminata holds on to her name; she trades slap for slap; no one can tell her what to do. She asks George Washington (a bit of an officious boob in this rendering), “Do you think the Negro will one day have his freedom like you Americans?”
“I’m afraid the general must be on his way,” his flack responds.
review by Robert Lloyd via latimes.com
At Good Black News, February is an especially invigorating time. When Black History Month rolls around, people have more interest than normal in African-American history, music and culture, and GBN inevitably benefits from the heightened exposure. We make an extra effort to provide a wide variety of information and stories (historical and current) during this time, and point to events and programming we find to be educational as well as entertaining.
Even so, we are a small operation with limited (albeit growing) reach, and we know a lot of black folks feel skeptical about BHM — it always seems like the same old, same old — Martin, Malcolm, Rosa, and the black movie, tv show or person du jour get celebrated in the national news, and then everybody forgets (or tries to forget) about African-American history until next year.
Last night, however, as I was flipping through cable before going to bed, I noticed there was not only an increased amount of black programming (and not just on BET or TV One or PBS), it was more varied than ever. So much so, I wasn’t even sure what to watch: “Angel Heart” with Lisa Bonet and Mickey Rourke, a horror thriller set in New Orleans and the world of voodoo (which reminded me of a time where the media considered Bonet the controversial one from “The Cosby Show”), “School Daze”, the Spike Lee movie set at an all-black college in the South, or “Iceberg Slim: Portait of a Pimp”, a 2012 documentary produced by Ice T, primarily chronicling the author’s experiences in Chicago and Los Angeles.
I had been thinking about “School Daze” earlier that day, so I took it as a sign and flipped to that. It was the scene where the light-skinned sorority girls (lead by Tisha Campbell-Martin and Jasmine Guy) bump into the dark-skinned girls (lead by Kyme and Joie Lee) and go into a full-on musical fantasy where they square off as they sing “Good and Bad Hair.”
My jaw about dropped — I saw this movie in the theatre when I was in college, but I’d forgotten how provocative the lyrics and the visuals were. I mean, this movie was released in 1988 and had black women going hard for each other over hair, calling each other “high-yellow” and “jigaboo,” holding up fans with images of Hattie McDaniel as Mammy and Vivien Leigh as Scarlett to taunt one another! Up until Chris Rock‘s 2009 documentary “Good Hair,” when had this subject matter ever received exposure in mainstream entertainment?
I’d also forgotten how talented the actors and dancers were/are, blending traditional and historical dancing styles and choreography with contemporary steps, and how creative and original Lee was to even imagine doing a number like this in what was then only his second motion picture.
The next scene was a frat hazing scene where pledges where being paddled and this all-too-real violence (as well as the abhorrent misogyny that would soon be coming down the pipe) made me realize the film was deeper and pointed to more problems and issues in the black community than I’d recalled. “School Daze” received its share of flak (at the time and over the years) for being the hodgepodge of styles that it is, but it’s an important, innovative part of Lee’s work as well as black cinema, as relevant as “Dear White People” is in 2015, and fully worth a re-watch and discussion with the new generation of young people and college students.
Jazzed from this rediscovery, I flipped over to the Iceberg Slim documentary. Although I’ve known about Iceberg Slim for decades, I’ve never read his work, dismissing it based on its categorization as “gangsta” literature. Having matured since my 20s however (at least I think I have), I realized I really didn’t know anything about Iceberg Slim other than my perception, so perhaps I should learn more. I’m so glad I did. Not only was the documentary particularly well-executed (creative visuals, innovative music, interesting talking heads and dynamic footage of old Slim interviews), I learned what an intelligent man (Robert Beck) lay behind the Iceberg Slim persona, and how he wrote books such as “Pimp” and “Trick Baby” as cautionary tales rather than celebrations of street life. Even though I don’t (neither does he in his later years) condone or excuse his repulsive criminal behavior and abuse of women, I do recognize he artfully captured and described a very real part of the black experience in the 50s, 60s and 70s.
I also had no idea “Trick Baby” was made into a motion picture by Universal, which helped spur the burgeoning “Blaxploitation” film boom in the 1970s, or that he lived for years only ten blocks away from my grandparents in the Crenshaw district of Los Angeles/Inglewood. It was equally fascinating to learn Birdman of Cash Money Entertainment acquired the rights to “Pimp” and Slim’s other works to keep them alive on the Cash Money Content imprint via Simon & Schuster. And now I want to read those books and get that movie.
All in all, these late-night viewings made me even more excited and energized about Black History Month. And when I looked at my DVR this morning, I saw a variety of options casually waiting for me there, too: the latest episodes of the “Nightly Show with Larry Wilmore”, “How To Get Away With Murder”, “Empire”, “Black-ish” and what I hear via Twitter was an incredible performance by D’Angelo on “Saturday Night Live” last night. If that wasn’t enough, I started writing this piece while watching NFL QB Russell Wilson attempt to lead the Seattle Seahawks to back-to-back Super Bowl wins, which, if he does, will be a first for an African-American quarterback. (And btw, what an unexpected treat to see Missy Elliott featured in the halftime show with Katy Perry — Missy was fire!)
We all have the ability, even casually, to celebrate and discover (or re-discover) our history, music, literature and culture and I invite all GBN followers to comment, tweet, email or share any unexpected, positive BHM experiences you have. I’m going to continue to chronicle mine alongside more formally-presented stories and articles — looking forward to hearing yours as well!
Onward and upward!
The mass-murdering title character of Christopher Marlowe’s “Tamburlaine,” a man proud to call himself “the scourge of God,” has never been big on apologies. Not for him the regretful introspection of short-tempered Shakespearean tyrants like Macbeth, Lear or even nasty old Richard III.
Self-knowledge, who needs it? Being a world conqueror means never having to say you’re sorry.
It feels only fitting that Michael Boyd’s improbably enjoyable “Tamburlaine, Parts I and II,” which opened on Sunday night at the Polonsky Shakespeare Center in Brooklyn, should make no excuses for its redemption-proof hero or for the long and bloody plays over which he rules.
Embodied by a truly titanic John Douglas Thompson in this Theater for a New Audience production, Tamburlaine is a force of nature in the sense that typhoons, tidal waves and earthquakes are. Would you ever try to explain why such phenomena behave as they do? All you can do is sit back open-mouthed, observing the carnage and ducking the flying body parts.
Now who, you might ask, could possibly be entertained by such a sorry, gory epic of unrelenting destruction, in which power-crazed narcissists scramble for supremacy? Well, you might want to check the recent most-watched television and movie lists, or talk to the legions who binge on “Game of Thrones.”
Like Jean-Jacques Rousseau set to a hip-hop beat, Craig Grant offers his confessions in “A Sucker Emcee,” produced by the Labyrinth Theater Company. While a D.J. (Rich Medina) moves between two turntables, scratching and spinning, Mr. Grant tells the story of his life in rhymed couplets.
Mr. Grant, also known as muMs, speaks in a gentle growl with just a trace of a native Bronx drawl, though he can send his voice swooping up and down the social register. Dressed in Nikes and a T-shirt proclaiming “The Truth,” he spends most of the show near the front of the bare stage, lips pressed close to a microphone.
Though he’ll occasionally speak as his mother, his father, a friend or a teacher, he spends most of the piece as simply himself, narrating youthful screw-ups with fondness and exasperation.
In some ways his story is standard bullet-point autobiography. He begins with his volatile Bronx childhood, darts through some dissolute college years, chronicles his subsequent ups and down as a rapper and actor (best known for his role in the HBO prison drama “Oz”) and finally returns, with hard-won maturity and grace, to the borough of his birth. So far, so familiar. But what adds urgency and fierce pleasure to the monologue, directed by Jenny Koons, is his debt to music. D.J.’s, it seems, saved Mr. Grant’s life. “Before hip-hop, I couldn’t speak,” Mr. Grant recalls. The music gave him a voice, a place, a future, helping him to “turn all that hate into a dance and a chant.”
Mr. Medina provides backing beats to Mr. Grant’s chants and sometimes helps him pay more direct homage to the heroes of his youth — KRS-One, Rakim, the Sugarhill Gang. Even when the show threatens to turn into some sort of lecture demonstration, it’s still pretty good fun, with Mr. Medina illustrating each style and technique while Mr. Grant narrates and occasionally threatens some B-boy moves.
Even when the story ends with Mr. Grant’s returning to the Bronx and caring compassionately for his aging mother, the beat and the applause don’t stop.