Best known for painting the official portrait of First Lady Michelle Obama that hangs in the National Gallery, artist Amy Sherald’s painting of Breonna Taylor officially goes on display Friday at the Smithsonian National Museum of African American History and Culture in Washington D.C.
Sherald’s posthumous painting of Taylor, now part of the museum’s new exhibition, “Reckoning: Protest. Defiance. Resilience,” was first seen en masse by the public when it graced the September 2020 cover of Vanity Fair.
Acclaimed for her photo-based, realistic, minimalist style and creative exploration of skin tone, Sherald’s vision of Taylor simultaneously honors the police violence victim’s beauty, humanity and the tragedy of her loss.
A painting of Taylor now hangs in a darkened gallery on the fourth floor of the National Museum of African American History and Culture. It is displayed behind glass, in the warm glow of soft light. It is the only artwork in the room, a commanding presence, and the heartbreaking apex opening Friday.
The painting was acquired by both NMHAAC and the Speed Art Museum in KY, where it was displayed in April of this year. It will hang at NMHAAC until May 2022.
This morning in Richmond, VA, capital of the Confederacy during the Civil War, its top general was finally cut down. His statue, that is.
Erected in 1890, a full 35 years after he surrendered at Appomattox, the statue of Robert E. Lee was removed from its downtown perch to chants of “Na Na /Hey Hey /Goodbye”, the last of six confederate statues to come down on Richmond’s Monument Avenue.
At 8:54 a.m., a man in an orange jacket waved his arms, and the 21-foot statue rose into the air and glided, slowly, to a flatbed truck below. The sun had just come out and illuminated the towering gray pedestal as a small crowd on the east side of the monument let out a cheer.
“As a native of Richmond, I want to say that the head of the snake has been removed,” said Gary Flowers, a radio show host and civil rights activist, who is Black and was watching the activity. He said he planned to celebrate on Wednesday night and would tell pictures of his dead relatives that “the humiliation and agony and pain you suffered has been partly lifted.”
Virginia Governor Ralph Northam had planned to remove the Lee statue in June 2020 in the wake of George Floyd’s murder and the following protests, but faced legal challenges from a group of Richmond residents.
In an opinion issued last week, the Virginia Supreme Court dismissed the Lee statue case, saying that all the plaintiffs’ claims were without merit, and dissolved injunctions the lower court imposed, paving the way for today’s statute removal.
After Ida tore through the northeast of the country, leaving turmoil in its wake, I have been thinking of, and listening, to the beautiful music to emerge from the Crescent City. Here’s a collection of New Orleans Jazz to take you through this week.
From early 20th century figures like Sidney Bechet and Louis Armstrong to modern masters like Trombone Short and Christian Scott, this collection is full of classic grooves. I couldn’t help but include some fine brass band music too.
Hope you enjoy this eclectic playlist of artist from and/or based in New Orleans.
Yesterday, 114 years after coming to then-segregated West Point to teach horsemanship to White cadets, the U.S. Military Academy honored the contributions of the Buffalo Soldiers by raising its first statue of a Black man.
Created by sculptor Eddie Dixon, the statue is of Staff Sgt. Sanders H. Matthews Sr., who is believed to be the last known Buffalo Soldier to serve at West Point.
The words etched into the granite say: “In Memory of the Buffalo Soldiers who served with the 9th and 10th Cavalry Regiments as part of the United States Military Academy Cavalry Detachment at West Point.”
“Everybody has a right to have their story told,” said Dr. Aundrea Matthews, West Point’s cultural arts director and Matthew’s granddaughter. “Because it’s a powerful story. Just what [the Buffalo Soldiers] endured, their determination and their commitment to prove to the world that African American men can contribute and are viable citizens of this country.”
Dixon pored over old photographs of Sanders Matthews to get the facial image right.
A model was built on an inner structure of carved foam, over which Dixon spread a layer of light-brown clay. Molds were made from the model, and the statue was cast with molten bronze at Schaefer Art Bronze Casting, in Arlington, Tex.
It was transported by truck and arrived Monday morning, escorted by eight motorcycles from the National Association of Buffalo Soldiers and Troopers Motorcycle Club.
The sculpture, which features an image of Matthews carrying a swallow-tailed cavalry flag that reads “USMA Detachment,” is the culmination of a project that was started by him before he died at age 95 in 2016.
Matthews hoped for the day when a monument honoring the Buffalo Soldiers of West Point would come to fruition, not knowing he would be the image for the tribute, his granddaughter said.
This week are celebrating William James “Count” Basie. He was born 117 years ago on August 21, 1904.
In 1935, Basie formed the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. He would lead that group for almost 50 years.
Many musicians came to prominence under Basie’s direction, including tenor saxophonists Lester Young and Herschel Evans, guitarist Freddie Green, trumpeters Buck Clayton and Harry “Sweets” Edison, plunger trombonist Al Grey, and singers Jimmy Rushing, Helen Humes, Thelma Carpenter, and Joe Williams.
Here’s a solid dose of his half century of artistry. Do enjoy.
Clinton College, a small historically Black college (HBCU) located in Rock Hill, South Carolina is offering all full-time students free tuition for the upcoming 2021-22 academic year.
According to the Associated Press, Clinton College President Lester McCorn announced in early August that qualifying full-time students could attend at no cost for tuition.
The College had earlier committed to slash fall tuition by 50 percent for its students, and offer every student a new tablet, but with the continued financial strain of the pandemic, decided to do away with tuition altogether.
“It has been taxing for each and everyone of us,” McCorn said of the pandemic. “At Clinton College, we have done our best to keep the school moving forward and providing a quality education, even in a virtual environment.”
The cost of tuition for full-time students is listed as $4,960 per semester, while a full year costs $9,920. Vaccinated students are permitted to live on campus and will still be responsible for the costs of room and board. Those who attend full-time and live off campus can take their courses online free of charge.
While our #MusicMonday main man and selector Marlon West takes a well-earned break from creating thoughtful and unique playlists exploring the musical diaspora, I’m stepping in to post two curations honoring the woman of the weekend, Aretha Franklin.
Respect, the MGM biopic starring Jennifer Hudson as the Queen of Soul, was released exclusively in theaters this past Friday and earned almost $9 million in its first weekend. In addition to being a satisfying film experience, Respect makes you appreciate even more how creative and intelligent Aretha was in her musical expression across all genres.
In addition to being an unparalleled singer who could turn tunes by other artists into her own signature songs, Franklin also composed, arranged and produced several of her biggest hits.
In honor of those aspects of her genius, I offer the playlists “How I Got Over”: Aretha Franklin’s Cover Songs, which includes (of course) “Respect,” by Otis Redding, “Until You Come Back To Me” by Stevie Wonder and “Spanish Harlem” originally recorded by Ben E. King:
Well, Aretha stans, the movie moment we’ve long been waiting for is finally –FINALLY– here. Today, just three days shy of the third anniversary of her passing, the MGM feature film about the one and only Queen of Soul, Respect, hits theaters nationwide.
As Editor-in-Chief of Good Black News (and not-so-undercover Aretha Franklin freak), I was able to attend a press screening of the movie a few weeks ago, as well as interview its writer Tracey Scott Wilson (The Americans) and original score composer Kris Bowers (The United States vs. Billie Holiday, Space Jam: A New Legacy, King Richard).
Directed by Tony Award nominee Liesl Tommy from a screenplay by Emmy Award nominee Wilson and starring Academy Award-winning vocal powerhouse Jennifer Hudson (who also executive produced), Respect is a treasure not only because it is a film about a Black woman made by Black women, but also because it satisfies on every level — visually, musically, and dramatically.
“Liesl wanted this to be a movie about and for and with and celebrating Black women because that’s what Aretha did her entire life,” writer Wilson said. “That was one of her missions in life, to honor Black women and put them front and center.”
The biopic covers a span of approximately 20 years in Franklin’s life, from her youthful choir solo singing in her father’s church to recording and producing Amazing Grace, a live double album of gospel music in the church of early teacher and friend Rev. James Cleveland (warmly and lovingly portrayed by Tituss Burgess).
Jennifer Hudson stars as Aretha Franklin and Forest Whitaker as her father C.L. Franklin in RESPECT (Photo credit: Quantrell D. Colbert)
Performances across the board are top notch – Hudson not only understood the assignment, she embodied it and transcended it by capturing Aretha’s quiet and graceful exterior while navigating how to express the caldron of explosive feeling and creativity within.
Forest Whitaker‘s note-perfect performance as Aretha’s formidable, flawed, savvy and controlling preacher father C.L. Franklin again proves why he is a lauded master of the craft.
As Aretha’s first husband and manager Ted White, Marlon Wayans charms with his nuanced combination of sexiness, intelligence and manipulation that make the dynamic of White and Franklin’s relationship live so well in the gray areas of both real and fatal attraction, especially when it gets violent.
Although they had limited screen time, Audra McDonald has so much gravity and grace as Aretha’s mother Barbara Franklin, she is broken spirit personified and Mary J. Blige pops off the screen as Aretha’s mentor/menace/musical motivator Dinah Washington.
Actor Jennifer Hudson and director Liesl Tommy on the set of RESPECT (Photo credit: Quantrell D. Colbert)
Tommy’s direction is as subtle as it is rich and powerful — the movie doesn’t feel like a movie if you know what I mean — but like an inside look into a lived experience. Franklin remains a mystery in many ways, which I found to be an insightful nod to Aretha’s own choice and agency to fiercely protect and guard her interior life.
Tommy and Wilson take what is known about the relationships and traumas in Franklin’s life and, like Franklin, let their fullest expression explode like dynamite through the music.
The way the music is presented within the storytelling (not to mention Hudson’s astounding vocals), from the expected highs like “Respect” or the emotional, fractured rehearsal of “Precious Memories,” is ambrosia for the ears, heart and soul.
The creation of “Ain’t No Way” in the movie plays as a grand glimpse into Aretha’s musicality and artistry as well as her connection with her sisters Erma and Carolyn (younger sister Carolyn Franklin wrote the song and is teaching it to Aretha in the scene) and this pivotal moment is a stand out.
According to Wilson, not only is that song a favorite of director Tommy, it also pays homage to rarely seen ABC news documentary footage of the same:
“It’s just them in rehearsal, and it’s Carolyn teaching her the song that she wrote. I must have watched that video like 100 times. Just seeing the dynamic between them — Ted White is standing there, the Muscle Shoals guys are standing there — and she’s just teaching her this song,” Wilson said.
“And Carolyn could read music and Aretha couldn’t, so she’s speaking to her not only in a way musically that Aretha can understand but she’s also speaking to her as a sister. And just seeing that I knew it had to be in the movie because it so encapsulates their relationship so well, it captures Carolyn’s brilliance, it captures their sisterly camaraderie and love, and also the dynamic of Ted who’s there who is clearly becoming just an appendage and not the main attraction anymore.”
“Liesl had in mind that the score was going to handle a lot of her trauma in the story and that was going to be the focal point of the score. And the other thing that I started to feel was revealing itself in the story… is how much she’s finding her way back to God and her faith and church and also in a lot of ways this pure connection she had with her mother.”
The score itself, Bowers said, was loosely inspired by the sound of the church, which, as Aretha’s life and career highs and lows unfold, is calling her back to it.
“A lot of the textures are organ sounds… and I just kind of stretched them out and did different things to them to create more of a texture and layers on top of the score.”
“The theme itself not only was meant to feel somewhat like a hymn but her trauma theme is actually her mother’s theme in reverse. A lot of [the score] is trying to find ways to create some sort of throughline to that so it can continue to pull her toward that calling of God and her faith.”
As a bonus, the film’s final moments close with the actual footage of Aretha’s unparalleled Kennedy Center Honors performance of “Natural Woman” from 2015. It’s such an outstanding narrative choice, it brought tears to the eyes of this Aretha devotee.
Although the film passes quickly through Aretha’s Columbia records output and ends well before her transition to her Clive Davis and Arista years, it’s an impressive exploration of, to paraphrase Wilson, “the woman with the greatest voice in the world finding her own voice.”
The digital health start-up HUED, founded in 2018 by Kimberly Wilson with the aim of connecting patients with Black and Latinx healthcare providers, recently raised $1.6 million in seed funding led by women venture capitalists.
According to thegrio.com, round participants included Serena Williams‘ Serena Ventures, Osage Venture Partners, Northwestern Mutual, Black Founders Matter, Gingerbread Capital, and angel investor and health industry leader, Halle Tecco.
“Embarking on such a bold mission to reimagine the healthcare system for communities of color is no easy feat,” said Wilson, Founder and CEO of HUED in a press release. “It’s incredible to have received the support of incredible investors, such as Female Founders Fund, to further our mission to empower and train healthcare workers on anti-racist practices, implicit bias, and providing culturally sensitive care for Black and Latinx populations.”
“We are thrilled to back Kimberly and her vision for HUED in making healthcare more equitable for millions of Black and Latinx patients,” said Anu Duggal, Founding Partner of Female Founders Fund. “She has built exciting traction with a strong team and we believe the HUED model will have a massive impact on healthcare outcomes in this country.”
HUED uses a patient’s insurance provider and region to match providers. The site also allows patients to access reviews about specific providers before making an appointment.
Wilson’s own 2017 healthcare scare inspired her to create HUED. When she ended up in the emergency room with complications related to fibroids, Wilson has stated that her mostly white male doctors “dismissed my pain.”
Through this funding round, grio.com reports, HUED will be able to add to its growing ranks of providers and train over 5,000 healthcare workers nationwide.
Thirty three year-old Barbados native Robyn Fenty, best known to the world as singing superstar Rihanna, through the success of her smash hits and cosmetics company Fenty Beauty, has officially become a billionaire.
According to Forbes, Rihanna is now worth $1.7 billion, which makes her the wealthiest woman musician on the planet.
Although Rihanna has ruled the global music charts with hits like “Umbrella,” “The Only Girl In the World,” “Diamonds,” and “Work,” the bulk of her assets come from Fenty Beauty ($1.4 billion) and her lingerie offshoot Savage x Fenty (approximately $270 million).
Forbes estimated that Rihanna owns about 30 percent of Savage x Fenty and about 50 percent of Fenty Beauty, which works to provide consumers with inclusive beauty products that work for a wide range of skin types and colors.
Rihanna has used her amassing wealth to support and create several charities, such as her Clara Lionel Foundation, which she founded in 2012 in honor of her grandparents.
CLF supports and funds education initiatives and emergency response to natural disasters, and advocates for policy and systems change to improve the quality of life for communities across the globe.
Acclaimed for her photo-based, realistic, minimalist style and creative exploration of skin tone, Sherald’s vision of Taylor simultaneously honors the police violence victim’s beauty, humanity and the tragedy of her loss.
The College had earlier committed to slash fall tuition by 50 percent for its students, and offer every student a new tablet, but with the continued financial strain of the pandemic, decided to do away with tuition altogether.
