On Friday, State Senator Steven Bradford (D-CA, Gardena) reintroduced a bill to the California State Legislature that would pave the way for the City of Manhattan Beach to return ownership of coveted oceanside property to the descendants of its former owners, Willa and Charles Bruce.
According to the Los Angeles Times, the Bruces originally purchased the land in 1912 and ran a cafe, dance hall and lodge on the oceanfront lots to provide resort space and activities to African Americans, and the area started being called “Bruce’s Beach.”
But white neighbors resented the resort’s popularity. Tires were slashed. The Ku Klux Klan purportedly set fire to a mattress under the main deck and torched a Black-owned home nearby.
When harassment failed to drive the Bruce’s Beach community out of town, city officials in 1924 condemned the neighborhood and seized more than two dozen properties through eminent domain. The reason, they said, was an urgent need for a public park.
The Bruces sought $70,000 for their two beachfront properties and $50,000 in damages. They received $14,500.
For decades, the properties sat empty. The Bruce parcels were transferred to the state in 1948, then to the county in 1995. A county lifeguard center occupies the land today. As for the remaining lots, city officials eventually turned them into a park, worried that family members might sue to regain their land unless it was used for the purpose for which it had been originally taken.
Though a plaque designating the and renaming the park area as “Bruce’s Beach” was erected in 2007, this symbolic acknowledgment ]did not address the underlying issues of injustice and racism at the core of why “eminent domain” was invoked by the local government to strip the Bruce’s of their property.
In recent years there has been a grassroots effort to bring the full history of Bruce’s Beach to light as well as a push towards reparations for the Bruce family.
Despite comprehensive efforts over the years to record Los Angeles’ historic places, the city’s historic designation programs, by their own estimation, do not yet reflect the depth and breadth of African American history. Just over three percent of the city’s 1,200 designated local landmarks are linked to African American heritage.
Over the next three years, the project will work with local communities and cultural institutions to more fully recognize and understand African American experiences in Los Angeles. The work aims to identify and help preserve the places that best represent these stories and work with communities to develop creative approaches that meet their own aims for placemaking, identity, and empowerment.
As the African American population of such areas as West Adams and Jefferson Park began growing in the 1940s, new Black churches were founded. One of the most influential was Holman United Methodist, which commissioned architect Kenneth Nels Lind to design this sanctuary in 1958.
The project is led by the Getty Conservation Institute and the Office of Historic Resources (OHR) within Los Angeles’ Department of City Planning, which is responsible for the management of historic resources within the city. A community engagement program will create a space for meaningful input and local partnerships, drawing upon community-based knowledge of lesser-known histories.
“Historic preservation is about the acknowledgment and elevation of places and stories. The point of this work is to make sure that the stories and places of African Americans in Los Angeles are more present and complete than previously,” says Tim Whalen, John E. and Louise Bryson Director at the Getty Conservation Institute. “The work is also about making sure that preservation methods are examined for systemic bias. It’s ultimately about equity.”
Before embarking on this project, Getty and the city convened a virtual roundtable composed of a group of national and local thought leaders with experience in urban planning, historic preservation, African American history, and/or grassroots and community organizing.
Their discussions of diversity and inclusion in preservation policy helped shape the initiative and its goals. In particular, their input shed light on existing processes and practices that perpetuate biases in how places are recognized and protected, and helped expose current preservation policies that prevent the conservation of places of importance to Black communities.
“This project will illuminate overlooked narratives and historic places important to Los Angeles and our nation that deserve protection and recognition,” says Brent Leggs, executive director of the African American Cultural Heritage Action Fund at the National Trust for Historic Preservation and a member of the project’s initial thought leader round table meeting.
“Through public and private partnership, the Getty and City of Los Angeles can model broader reform in the U.S. preservation field and can work proactively at the local government and city levels to grow pathways for equitable interpretation and community-driven preservation.”
This project will include research to rethink and potentially expand the heritage preservation toolkit. This involves examining how current historic preservation and planning processes and policies may be reinforcing systemic racism. It will also work to bring new and improved processes that address injustices and bring greater inclusion and diversity to historic preservation practices.
Barber shops, such as Magnificent Brothers—in operation in the Crenshaw district since 1970— could be found eligible for listing based on their social significance to the community.
The initial phase of this project will also provide a framework for identifying and evaluating properties relating to African American history in Los Angeles. In 2018 OHR completed a framework for identifying African American heritage in the city, drawing upon nine themes that included civil rights, deed restriction and segregation, religion and spirituality, social clubs and organizations, and visual arts. The project will include deeper citywide community engagement around this framework and allow for the report’s potential expansion.
“As the largest planning department in the United States, City Planning is uniquely positioned to chart a course for a more fair, equitable, and just Los Angeles for future generations, in part, through cultural heritage and education,” says Vince Bertoni, director of planning for the City of Los Angeles. “We are excited to highlight this broader range of values and history that better represents our diverse city.”
In addition to rethinking the preservation toolkit, the project will include official historic designation of a number of African American historic places by the city. The work of the project will also extend beyond traditional preservation tools to address the development of broader cultural preservation strategies with selected historically Black communities.
The project will also provide opportunities for emerging history, preservation and planning professionals through dedicated paid internships. Additionally, Getty and OHR will soon launch a search for a consultant project leader to further develop, manage, and implement the work of this project, under the guidance of a soon-to-be-established local advisory committee representing key stakeholders in the city’s African American communities.
“The history of Los Angeles is incomplete without recognition of the African American individuals and institutions that shaped the economic, cultural and civic narrative of the region,” says Susan D. Anderson, history curator and program manager at the California African American Museum in Los Angeles and a member of the project’s initial thought leader round table meeting. “This important project will expand how heritage is defined and will provide an opportunity to work with local communities and residents to unearth stories that are vital to our understanding of the place we call home.”
The City of Los Angeles and the Getty Conservation Institute have worked together for nearly two decades on local heritage projects. Their joint efforts include SurveyLA, a citywide survey of historic places that was conducted from 2010 through 2017. SurveyLA covered the entire City of Los Angeles—over 880,000 legal parcels in an area of almost 500 square miles—and identified resources dating from approximately 1865 to 1980. The data from SurveyLA was used to create HistoricPlacesLA, a website launched in 2015 that allows the public to explore these places.
Golden State Mutual Life Insurance building designed by Paul Williams
The announcement follows the Getty Research Institute and the USC School of Architecture’s recent joint acquisition of the archives of Paul R. Williams, one of the most significant African American architects of the 20th century. Several Williams buildings are already designated historic landmarks in Los Angeles, including the 28th Street YMCA and Golden State Mutual Life Insurance Company.
The new initiative also builds upon the work of City Planning, in establishing the Office of Racial Justice, Equity, and Transformative Planning in 2020 in response to Mayor Eric Garcetti’s Executive Order No. 27 on Racial Equity in City Government. Through the office, City Planning is comprehensively confronting how land use policies and zoning practices have reinforced racial segregation, environmental injustice, and poor health outcomes.
Happy Music Monday from your friend and selector, Marlon. Hope this playlist and missive finds you safe and well.
For most of this lockdown, I have not been able to listen to crowds enjoying great music. While I’m still months away from attending a live show myself, the vaccine rollout has me seeing light at the end of the proverbial tunnel.
To that end, I have made this collection to celebrate great live music performances. Live records aren’t nearly as plentiful as they once were. Though to many old-school music lovers, live albums were ubiquitous especially in the 1970s and ’80s, where live-recorded albums seemed to come out every week.
That being said, there are recent offerings by The Black Pumas, Beyoncé, and Gary Clark Jr. Along with B.B. King at Cook County Jail, Jimi Hendrix at Woodstock, and Sam Cooke at The Harlem Square Club, there are “Unplugged” performances by Jill Scott, The Roots, Jay-Z, Erykah Badu, Maxwell, and Lauryn Hill.
At upwards of 12 hours, I am still sure to have missed some gems. Feel free to make suggestions in the comments so I may add them. This is another eclectic journey through hip-hop, R&B, reggae, and rock ‘n roll. I didn’t even touch on jazz.
Next week’s offering will be devoted to live jazz recordings.
Until then, stay safe, sane, and kind.*
Marlon West (photo courtesy Marlon West)
*A note to those listening to Spotify on a desktop or laptop. This is a good one to put your crossfade settings at the 12-second maximum. It will carry the crowd reactions across the tracks, making it feel like one long show. Kinda.
According to Variety.com, a collaboration between Lionsgate Television, The New York Times, and Oprah Winfrey’s Harpo Films will create a docuseries for streaming platform Hulu based on The 1619 Project from New York Times Magazine’s and Nikole Hannah-Jones‘ journalistic examination of slavery and racism in the U.S. from 1619 to current times.
Emmy-nominated and Peabody Award-winner Shoshana Guy will serve as showrunner and executive producer. Kathleen Lingo, editorial director for film and TV at The New York Times, will also executive produce along with Caitlin Roper, The Times’ executive producer for scripted film and TV.
Academy Award-winning director Roger Ross Williams will produce and oversee the series with producing partner and co-executive producer Geoff Martz and also direct the first episode.
The series falls under a distribution agreement between Lionsgate and Disney General Entertainment Content’s BIPOC Creator Initiative led by Tara Duncan.
The 1619 Project connected the centrality of slavery in U.S. history with an account of the racism that endures in so many aspects of American life today. It was launched in August 2019 on the 400th anniversary of the arrival of the first enslaved Africans in the English colonies that would become the United States. It examines the legacy of slavery in America and how it shaped nearly all aspects of society, from music and law to education and the arts, and including the principles of our democracy itself.
“The 1619 Project is an essential reframing of American history,” Williams said. “Our most cherished ideals and achievements cannot be understood without acknowledging both systemic racism and the contributions of Black Americans. And this isn’t just about the past—Black people are still fighting against both the legacy of this racism and its current incarnation. I am thrilled and grateful for the opportunity to work with The New York Times, Lionsgate Television, Harpo Films and Hulu to translate the incredibly important The 1619 Project into a documentary series.”
[Torri’ell Norwood (in the back) poses for a selfie with A’zarria Simmons. Norwood performed CPR on Simmons after a car accident on February 20. Photo via CNN.com]
Torri’ell Norwood, 17, saved the life of her best friend A’zarria Simmons, 16, just one day after learning basic life support in class at her high school, Lakewood High, according to cnn.com.
Norwood was driving three friends home in St. Petersburg, Florida, on February 20 of this year when another driver slammed into her from her left and sent her car careening.
The impact jammed shut the driver’s side door, so Norwood climbed out the front window. Two of her friends managed to get out of the car unharmed, but the collision caused Simmons to hit her head on the backseat window.
“When I turned around, I didn’t see A’zarria running with us,” Norwood told CNN. “So, I had to run back to the car as fast as I can. She was just sitting there unresponsive.”
And that’s when the training Norwood had just learned kicked in. She pulled Simmons out of the back seat, avoiding broken glass from the window.
“That’s when I checked her pulse on her neck. I put my head against her chest, and I didn’t really hear nothing. So that’s when I just started doing CPR on her.”
After the 30 compressions and two rescue breaths, Simmons regained consciousness. Paramedics quickly arrived and rushed her to the hospital, where she received stitches for a gash in her forehead.
“I don’t remember the hit or anything about accident. But when I woke up, I was in the hospital. I was in shock. I was trying to figure out how I got there,” Simmons said.
Norwood participates in Lakewood’s Athletic Lifestyle Management Academy. The program exists to prepare students for varied careers in the health sciences.
Thanks to Norwood’s quick thinking,CPR lesson retention and heroic actions, Simmons is recovering well. Both friends plan to pursue careers in the medical field.
“I do want to be a nurse,” Norwood said. “I know that if somebody was in need of help, I’d go to the rescue.”
Doo-Wop is a style of rhythm-and-blues and rock-and-roll vocal music most popular in the 1950s and ’60s. The term “doo-wop” is derived from the sounds made by the group as they provided the harmonic background for the lead singer.
Doo-Wop music is before “the time” me and most followers of Good Black News and these weekly playlists. Though there isn’t a genre called “musically transportive to that time period,” Doo-Wop tracks have been used on many film and television scores for that very reason.
It started in African-American neighborhoods all around the United States including New York, Los Angeles, Philadelphia, Chicago, Baltimore, Newark, Detroit, and Washington, DC.
Though its roots can be found as early as the records of the Mills Brothers and the Ink Spots in the 1930s and ’40s, Motown’s premier groups like The Shirelles and Temptations of the 1960s and ’70s were based in this classic doo-wop style.
Berry Gordy’s songwriting powerhouse, Smokey Robinson, had early hits with The Miracles that were straight Doo-Wop songs. Its influence has been felt on punk, alternative rock, and modern R&B artists.
I’ve gathered classics by The Platters, The Flamingos, Little Anthony and The Imperials, The Orions, The Moonglows, and many others for this playlist. Do enjoy.
[Photo: Killer Mike, Andrew Young, Ryan Glover via bankgreenwood.com]
Greenwood, the digital banking platform introduced last year by co-founders activist/rapper Michael “Killer Mike” Render and Bounce TV President Ryan Glover, has raised almost $40 million in Series A funding since its website launched in October 2020, according to a joint announcement last week.
The burgeoning financial startup — named for the Black business district in Tulsa, Oklahoma that existed in the early 20th century (before the 1921 Tulsa Massacre) and earned the nickname “Black Wall Street” — received investments from Truist Bank, Bank of America and JPMorgan Chase, PNC, Wells Fargo,Mastercard, Visa, and SoftBank, six of the seven biggest banks among others on a growing list of major financial institutions now invested in Greenwood.
https://youtu.be/xVbXaP-zHlE
“The net worth of a typical white family is nearly ten times greater than that of a Black family and eight times greater than that of a Latino family. This wealth gap is a curable injustice that requires collaboration,” said Greenwood Chairman Glover.
“I am elated that many of the world’s top fintech companies have invested in Greenwood and join us in this mission. The backing of six of the top seven banks and the two largest payment technology companies is a testament to the contemporary influence of the Black and Latino community. We now are even better positioned to deliver the world-class services our customers deserve.”
Greenwood delayed its planned January 2021 launch date because of overwhelming demand after more than 500,000 people signed up for an account before launch.
To learn more and join the Greenwood community and product waitlist, visit www.bankgreenwood.com.
The exclusive premiere of the documentary film Twenty Pearls: The Story of Alpha Kappa Alpha Sorority, Incorporated®, starts airing today, Friday, March 26 on Comcast NBCUniversal‘s newly-launched Black Experience on Xfinity Channel.
Narrated by AKA memberPhylicia Rashād, directed by filmmaker Deborah Riley Draper and produced by Coffee Bluff Pictures, Twenty Pearls closely examines the founding and legacy of the first Black sorority, Alpha Kappa Alpha Sorority, Incorporated®, which is regarded as one of the most significant and influential Black organizations in history.
The documentary tells a story of sisterhood. In 1908, nine Black women students enrolled at Howard University created Alpha Kappa Alpha Sorority, Incorporated.®
Through narration, interviews and rarely seen archival materials, the audience will see the sorority’s impact on World War II, NASA, Civil Rights, Women’s Rights and Historically Black Colleges and Universities (HBCUs) culminating in the historic election of Kamala Harris as America’s first Black and South Asian woman Vice President.
Twenty Pearls features interviews with members of the sorority including Vice President Kamala Harris, Miss Universe Ireland 2019 Fionnghuala O’Reilly, Smithsonian Secretary Lonnie Bunch III, Anna Eleanor Roosevelt Fierst, great-granddaughter of First Lady Eleanor Roosevelt, InternationalPresident and CEO of Alpha Kappa Alpha Sorority, Incorporated® Dr. Glenda Glover and many more.
Other notable AKAs include NASA mathematician and Presidential Medal of Freedom recipient Katherine Johnson, civil rights activist and icon Coretta Scott King, tennis champion Althea Gibson, and Nobel Prize-winning author Toni Morrison.
“This is an extraordinary time to look back at our past to serve our future,” added Deborah Riley Draper. “A future where Black women are centered. Helming this documentary love letter to the founders of Alpha Kappa Alpha, the generations of women that followed in their footsteps and to all Black women everywhere is an honor. This is an important history for all of us to know and understand.”
“Telling our own story is essential to preserving our history and uplifting the culture,” said Alpha Kappa Alpha International President and CEO Dr. Glenda Glover. “Alpha Kappa Alpha Sorority, Incorporated’s remarkable 113-year journey which began on the campus of Howard University is punctuated by stories of history makers, ceiling breakers, public servants and ordinary women who have changed the course of American history. Through this beautifully written and narrated odyssey, this film highlights in undeniable ways the vision, courage, tenacity, determination and power of Black women while putting to bed the age-old questions about the relevance of Historically Black Colleges and Universities and the Divine Nine sororities and fraternities.”
Black Experience on Xfinity is a destination of Black entertainment, movies, TV shows, news and more. It features high-quality content from many of Xfinity’s existing network partners, while investing millions of dollars in fostering and showcasing emerging Black content creators.
Black Experience on Xfinity is available at home on Xfinity X1 and Flex, and on-the-go with the Xfinity Stream app, At home, Xfinity subscribers can visit channel 1622 or simply say “Black Experience” into the Voice Remote to instantly enjoy its content.
Visit www.aka1908.com to learn more about Twenty Pearls, which premieres on today on Xfinity and is free for subscribers, and will be available on demand nationwide starting on March 30, 2021.
It’s always nice to have an excuse to celebrate the Queen of Soul and her music. Although this week in particular it’s been a somewhat fraught proposition, as the National Geographic Channel began airing its Genius: Aretha series starring Cynthia Erivo on Sunday, to which some of Franklin’s immediate family publicly objected.
But if, like me, you’re inclined to want to celebrate Aretha on what would have been her 79th birthday and can’t wait for the MGM feature Respect starring Jennifer Hudson (which, so far, the family does approve of) to come out, you can always rewatch the glorious Amazing Grace concert film released in 2019, or go right to the source and listen to all Aretha all day.
For my 2020 celebration, I compiled a collection of her original works in a Spotify playlist called “Rock Steady”: Songs Aretha Franklin Wrote, in honor of her ability to compose incredible music and lyrics that have stood the test of time, a talent which is often overshadowed by Aretha’s unparalleled singing mastery.
This year, I chose to celebrate Aretha Franklin’s lifelong love of all musical styles and her unmatched ability to turn any song from any genre from any time by anybody into her own unique moment. Below is the compilation playlist “How I Got Over”: Aretha Franklin’s Cover Songs:
In it, you’ll find the songs you already know were recorded by others that Aretha made her own signature songs (“Respect,” “Spanish Harlem,” “Until You Come Back to Me”), along with songs where her version became as famous as the original, if not more (“You’re All I Need To Get By,” “I Say A Little Prayer,” “Wholy Holy,” “Bridge Over Troubled Water,” “Don’t Play That Song,” “Son of A Preacher Man”).
Also included are songs you may not know she covered (many were deep cuts on LPs or only recently released) but as soon as you hear Aretha’s version you won’t be able to forget it (“At Last,” “A Change Is Gonna Come,” “A Song For You,” “What a Fool Believes,” “I Want to Be With You,” “My Kind of Town (Detroit Is)”).
Aretha also dips into her Detroit roots with her covers of Motown classics like “My Guy,” “Tracks of My Tears” and “You Keep Me Hangin’ On,” as well as her love of her British Invasion contemporaries with covers of The Beatles‘ “Eleanor Rigby,” “Let It Be” and “The Long and Winding Road” and The Rolling Stones‘ “Satisfaction” and “Jumpin’ Jack Flash.”
Franklin effortlessly shows off her jazz chops on “Moody’s Mood,” “Skylark,” “How Glad I Am” and “Crazy He Calls Me” and her devastating blues acumen and feeling with “Today I Sing The Blues,” “The Thrill is Gone,”“Night Time Is The Right Time” and “Why I Sing The Blues.”
“Over The Rainbow,” “Somewhere” and “I Dreamed A Dream” let us all know a career on Broadway or movie musicals, should she have wanted it, would have been Aretha’s for the taking, and her takes on traditional gospel classics like “How I Got Over,” “What a Friend We Have In Jesus,” “Oh Happy Day” (with Mavis Staples), and, of course, “Amazing Grace” make it simple for anyone needing proof of God to listen and say, “Oh, okay. THAT.”
For those who love holiday fare, Aretha’s got that covered too, with undeniable versions of “Winter Wonderland,” “Silent Night” and “The Christmas Song.”
As late as 2014, at age 72, Aretha Franklin was still showing the world what she could do to a song she deigned to sing.
Franklin released an entire album of covers entitled Aretha Franklin Sings The Great Diva Classics, where she famously took on “Rolling In The Deep” by Adele, Alicia Keys‘ “No One” and created must-listen mash-up versions of Chaka Khan’s “I’m Every Woman/Respect” where Aretha blends those two classics together, and Gloria Gaynor‘s “I Will Survive,” which she mixes with Destiny’s Child‘s “Survivor.”
All the songs mentioned and more are on the 85-track playlist above. There are even more enticing covers in the Aretha Franklin catalogue worth exploring, but at five and a half hours, I definitely feel this playlist is a great place to start.
According to usatoday.com, the Biden administration is extending a special opportunity for people to sign up for government-subsidized health insurance through the federally run marketplace, commonly referred to as as Obamacare.
The special enrollment period will no longer end May 15 but extend to Aug. 15 to give people more time to take advantage of the expanded subsidies included in the recently passed $1.9 trillion stimulus package.
The package increased the subsidies already available to people who don’t receive health insurance from an employer or through a government plan like Medicare or Medicaid.
The package also makes the subsidies newly available for people earning more than four times the federal poverty level, which is about $51,520 for a single person.
Additionally, according to the Department of Health and Human Services, insurance premiums will decrease an average of $50 a month per person, but some people could possibly save several hundred dollars each month. The savings are available starting April 1.
President Joe Biden made the announcement yesterday on the 11th anniversary of the day former President Barack Obama signed the Affordable Care Act into law.
“[O]n this anniversary, we should remember just how close we have come to losing that act we so fought so hard for,” Biden said during an event in Ohio. “And we have a duty not just to protect it, but to make it better and keep becoming a nation where healthcare is a right for all and not a privilege for a few.”
People who already have insurance through an exchange can either apply the new subsidies to their existing plan to lower their monthly payments or can switch plans. Switching could allow someone to buy a plan with a much lower deductible, with the higher subsidy covering that plan’s higher premium.
