Just a quick reminder if you haven’t found a moment to make it to the polls yet today, there’s still time! GBN Lifestyle/Sports Editor Lesa Lakin and I have taken the #blackwomenvote initiative seriously and hit the polls already – fortunately we had good weather – we hope you can find time to do the same if you haven’t already. Voting is important… as our history and the poster below remind us:
If you don’t like your local, state or federal laws or officials, get out there and help foster change by making your voice heard. If you’re not sure where your polling place is, click here to enter your address and find out!
Onward and upward, together! Lori Lakin Hutcherson (follow @lakinhutcherson)
Pauline Malefane, foreground, of the Isango Ensemble in a reimagining of Mozart’s opera “The Magic Flute” at the New Victory Theater. (EMON HASSAN FOR THE NEW YORK TIMES)
Less glockenspiel, more drumming! A very different sort of “The Magic Flute” took the stage at the New Victory Theater on Sunday afternoon in front of an attentive and appreciative family audience. This two-hour adaptation of Mozart’s fairy tale opera was presented under the Xhosa title “Impempe Yomlingo” by the South African Isango Ensemble, a company that recruits performers from townships in the Cape Town area and presents classics from the Western canon in an updated, African context.
But perhaps “updated” isn’t quite the right word: In the program notes, the show’s director, Mark Dornford-May, relates a myth from the Tsonga tradition about the andlati birds that live high in the mountains and cause terrifying storms and lightning. Only a hero brave enough to seek them out with a magic flute can appease them and avert destruction.
“The story may never have reached Mozart, but the similarities are fascinating nonetheless,” Mr. Dornford-May writes. “Who knows? Maybe one of the greatest pieces of European opera had its roots and inspiration in a South African folk tale.”
Certainly, few productions can match the colorful exuberance and pulsating energy of this “Flute,” or field as versatile a cast as this, in which every member sings, dances and drums. The bare set evokes a township square. The traditional orchestra is replaced by eight marimbas, supplemented by an array of percussion, including djembes, oil barrels, hand clapping and — standing in for Papageno’s glockenspiel — suspended water bottles of graduated pitches. Tamino’s flute is a trumpet, played with jazzy vigor by Mandisi Dyantyis, the ensemble’s co-music director and conductor.
The vocal performances were a testament to South Africa’s deep pool of singing talent. The notes were all there — Pauline Malefane courageously scaled the heights of the Queen of the Night’s arias; Mhlekazi Mosiea was a dignified Tamino; Ayanda Eleki, a proud, patriarchal Sarastro — even if there were times when they audibly strained the limits of the singers’ technique. But the cast offered portrayals with ample personality and charisma, among them Zolina Ngejane’s superfeisty Pamina and Zamile Gantana’s bon-vivant Papageno.
But this African “Flute” is, above all, a story of community, and the music, too, is at its most convincing where it draws on South Africa’s glorious choral tradition. If that means taking liberties with Mozart’s score, fine: Tamino’s taming of Monostatos and his posse of slaves suffers no injury by the infusion of a bit of calypso rhythm. The celebrations that greet Sarastro’s first appearance — complete with ululating women — are a jubilant riot.
The communal aspect also raises the stakes for the lovers’ trials, which are presented as a series of tribal initiation rites, with Tamino’s face painted white, like that of a tribal youngster embarking on a circumcision ritual. In traditional productions, this is often the part of the opera where the tension slackens, but in this post-apartheid setting, the young people’s quest for dignity, wisdom and reconciliation is shown to be of vital importance to everyone.
All children in America deserve a good breakfast. It’s hard to argue with that idea, right? Well, 1 in 5 children in New York City alone struggles with hunger. Thankfully, according to act.mtv.com, the No Kid Hungry campaign is pulling in some big-name supporters for “Powered by Breakfast NYC.”
Watch how NYC children are affected by this issue:
[vimeo 107932581 w=500 h=281]
The “Powered by Breakfast NYC” campaign hopes to pressure Mayor de Blasio to make breakfast part of the school day for all New York Public School students, which would essentially allow an additional 825,000 kids in the city to start the day with a healthy, nutritious meal.
Some Hollywood celebrities got involved: Jeff Bridges, Amanda Seyfried, Dax Shepard, Kristen Bell, and Sarah Hyland all sent tweets to the mayor to ask him to support the “Powered by Breakfast NYC” campaign, and Bridges starred in a PSA to support the cause.
Although free breakfast is available in NYC right now, less than 25 percent of kids are actually eating the meal because it’s served in the cafeteria before the bell rings – when so many children are in transit to school.
And it’s not just their stomachs that will be affected by eating breakfast. Children who eat breakfast reportedly score “17.5% higher on math tests, attend 1.5 more days of school each year and are 20% more likely to graduate high school.”
So what changes can be made to make sure kids are getting the most important meal of the day? If breakfast is served when students get to class, as it is in the pilot program mentioned in the video above, it could service all students present. Schools could also look into getting a “grab-n-go” type of breakfast, which will allow students to grab the food from the cafeteria and eat it on the way to and in class, right after the bell rings.
You can learn more about the campaign here. To sign the petition to support the campaign, click here. To donate or learn about other ways raise funds for NYC or your own local schools, click here. article by Claire Biggs (additions by Lori Lakin Hutcherson)
Good Black News is getting into the holiday spirit early — by giving away three copies of acclaimed author Jeff Chang‘s latest book, “Who We Be: The Colorization of America.”
In this follow-up to the classic “Can’t Stop Won’t Stop: A History of the Hip-Hop Generation,” which garnered Chang an American Book Award, “Who We Be” remixes comic strips and contemporary art, campus protests and corporate marketing campaigns, Martin Luther King, Jr. and Trayvon Martin into a powerful, unusual, and timely cultural history of the idea of racial progress.
I am currently reading this impressive, comprehensive work (the section on African-American comic strip artist Morrie Turner alone is worth the read) and can’t wait to share more about it once I’m finished, but why wait for a GBN review and recommendation when you can get the book for free right away?
To enter, simply send your name and email address with the subject heading “Who We Be Giveaway” to goodblacknewsgiveaways@yahoo.com by Saturday, November 8. We will choose three winners at random and announce their names on Monday.
Onward and Upward… and good luck! Lori Lakin Hutcherson, GBN Founder/Editor-In-Chief
The faculty of UCLA’s largest academic unit voted by a narrow margin to require future undergraduates to take a course on ethnic, cultural, religious or gender diversity. The move came after three previous efforts had failed.
Officials announced Friday that the faculty of the UCLA College of Letters and Science voted 332 to 303, with 24 blank ballots, to start the requirement for incoming freshmen in fall 2015 and new transfer students in 2017.
Two other faculty and administrative review panels still must approve the requirement before it can go into effect, but the recent college-wide vote was considered the most important step in a much-debated matter on the Westwood campus.
UCLA Chancellor Gene Block was a strong proponent of such diversity classes, saying they would help prepare students to live and work in a multi-cultural society. Most other UC campuses and the UCLA School of the Arts and Architecture already require such courses. The College of Letters and Science enrolls about 85% of UCLA’s undergraduates.
Opponents said students were overburdened with other requirements, particularly in the sciences, and said the budget-strapped university could not afford extra classes. Additional questions were raised about whether these classes improve ethnic relations and whether they typically skew left politically.
Similar proposals were rejected by the faculty three times in the last two decades. In 2012, the measure lost 224-175 in a vote that attracted only about 30% of potential ballots. More than 46% of the college faculty cast the online ballots in the current weeklong vote after much lobbying and student activism, officials said.
In a statement released Friday, Block said he was pleased by the faculty approval.
“A diversity-related course requirement for UCLA College undergraduates is an important component of our commitment to expose students to beliefs and backgrounds other than their own,” he said.
The courses are expected to be offered by many academic departments, ranging from sociology to statistics, and students will be required to choose one for an academic quarter.
M. Belinda Tucker, UCLA psychiatry and biobehavioral professor who was a co-chair of the diversity initiative, said the requirement will be more broadly defined than at some other campuses because it will include courses on international topics, not just U.S. issues.
She noted that the courses will not make it harder to graduate since students can devote one of their electives to it and fulfill it with courses that also meet other requirements for their major or degree.
“I think it’s going to benefit the students and benefit the campus as a whole,” Tucker said. article by Larry Gordon via latimes.com
Nevertheless, in her interview with Glamour magazine, she tells the magazine the attention she’s received has been overwhelming. “Right now I’m still adjusting. I guess I feel catapulted into a different place; I have a little whiplash,” she said. “I did have a dream to be an actress, but I didn’t think about being famous. And I haven’t yet figured out how to be a celebrity; that’s something I’m learning, and I wish there were a course on how to handle it.”
She couldn’t even imagine what winning the Oscar would be like, she observed.
“I don’t think I will ever be able to really articulate how bizarre it was to hear my name at the Academy Awards. I’d watched in my pajamas the year before!” she said. “I felt numb — dazed and confused. I remember feeling light — weightless. More like limbo than cloud nine.”
Nyong’o, who was born in Mexico of Kenyan parents, mentions that she didn’t know success on this level would be possible for a woman with darker skin. For her, Oprah Winfrey wasn’t just a role model but a “reference point,” and seeing Winfrey and Whoopi Goldberg in “The Color Purple” was key to her belief that she could become successful.
She hopes she can have the same effect on people who see her.
“I’ve heard people talk about images in popular culture changing, and that makes me feel great, because it means that the little girl I was, once upon a time, has an image to instill in her that she is beautiful, that she is worthy,” she said. “Until I saw people who looked like me, doing the things I wanted to, I wasn’t so sure it was a possibility.”
The December issue of Glamour will be available on newsstands November 11.
“Mr. Dynamite: The Rise of James Brown,” a documentary by Alex Gibney, is being shown Monday on HBO. (Credit: Walter Iooss Jr./Getty Images)
There is one interview I remember from my early days as a reporter, and I often recite a line from it because it’s the best answer I’ve ever gotten and ever will get. Naturally, it came from James Brown.
It was in 1989, when he was in prison for, among other things, capping a long bout of partying with a high-speed chase through Georgia and South Carolina that ended only after police officers shot out his tires.
I was a Time magazine reporter, and he was working in the prison cafeteria. The warden let me wave through a window at Brown as he wiped down tables in a cook’s white coat and cap, embellished by purple wraparound sunglasses and matching scarf. Brown was allowed to speak by phone.
I didn’t even know where to begin, so I asked how he was feeling. “I’m well rested now,” he said, and waited a beat. “But I miss being tired.”
That reply is almost reason enough for watching “Mr. Dynamite: The Rise of James Brown,” an HBO documentary directed by Alex Gibney. But there are plenty of others. This is a smart, informative and compassionate look at the artist known as the Godfather of Soul, whose music changed America.
“Mr. Dynamite” is an informative and compassionate look at James Brown, whose R&B, soul and funk altered American music. CreditEmilio Grossi/HBO
Brown, who died in 2006, was a fascinating figure. Just this year, he inspired a biographical movie, “Get On Up,” with Chadwick Boseman as Brown, and there have been a steady stream of biographies, including two memoirs that he wrote with co-authors.
He was a magnetic, kinetic master of R&B, soul and funk, with roots in gospel and big-band music. He was a beloved performer and an often terrible boss and violent husband. (His third wife, Adrienne Lois Rodriguez, told me he once laid out her mink coat on the bed and then shot it.) He played an important role at critical moments in the civil rights movement and also shocked his fans by supporting Richard M. Nixon in 1972.
Of course, there is also the music. The film opens with Brown sweating through a muscle T-shirt and chanting the opening words of “Soul Power” to a frenzied audience at the Olympia in Paris in 1971.
The narrative threads his scratch-poor boyhood dancing for nickels in the segregated South to his lasting influence on rock, hip-hop and rap. The film doesn’t dwell on his sad last days, but it does address his many contradictions — personal, musical and political. All of it is set to the beat of his music, which gets the last word.
“It’s Showtime!” Pharrell Williams continued his incredible run of musical accomplishments on Tuesday, by being named to the Apollo Theater’s Board of Directors. The multi-talented producer joins a list of 32 that includes New England Patriots owner Robert Kraft, Quincy Jones, John D. Dempsey of Estee Lauder, and many more.
Skateboard P made his debut on the famed stage on June 3, which was streamed live as part of a digital series, Unstaged. The project was directed by Spike Lee and sponsored by American Express, and seemed to open new doors for hollowed grounds. The global reach of Pharrell’s performance coincided with the technological upgrades that the venue is going through, as part of a $20 million dollar initiative for its 21st Century Apollo Campaign.
The singer/songwriter stated that he’s excited to preserve and expand upon the Apollo’s legacy in American culture. In other words, he’s “Happy.” article by @TheKidSkoob via theurbandaily.com
Halle Berry has been the face for many luxury labels (remember those Versace ads?), but now the actress is branching off into a fashion venture of her own. The lingerie lover is teaming up with 80-year-old French intimates brand Scandale Paris for a 10-piece capsule collection ranging from $7 for underwear to $18 for bras. Tres cheap, no? The best part is that the line is available at Target, or shall we say –– Tarjay. Let Halle, the new Scandale co-owner, tell you herself.
ESSENCE.com:Why Target? It’s very affordable. It’s for the everyday woman. Why that brand? HALLE BERRY: That’s why, because I have over the years liked some amazing pieces of lingerie. They were a small fortune, and most of them given to me because I refuse to pay $200 for a bra, but companies have sent them to me and I’ve enjoyed them. I thought this is great that somebody sent to me, but can real women really go and spend $200 on one bra? It never quite made sense.
But I love lingerie, and like I said in the top, I have friends that wear the same $200 bra until it falls apart, and I thought something’s not right here. If you can partner with Target, and you manufacture with La Perla because he knows how to do it, if he can make a quality product and we can sell it for $16 at Target, and it’s something that’s on the level of any great product, it’s not going to fall apart, that’s quality, and I thought that’s a win for us and it’s a win for the consumer because they can have a collection of bras now. You don’t have to wear one until it falls apart, you can wear a different one everyday and you haven’t broken your bank.
That for me was really important to offer that to women. ESSENCE.com:Is this only going to be sold at Target? BERRY: It’s only going to be sold in Target, it’s just we’re starting sort of small with our signature collection, and then we’re going to roll it out. We’re starting in some of their bigger stores to launch, and then we’ll go out into all the smaller stores with more. As we’ll roll into the spring with a whole spring line that’s a different colorway than these colors are. Then we’ll have a different collection for summer, then a different collection for fall. Then we’ll go in with different styles then what’s standing, trying to be seasonal at the same time. ESSENCE.com:Was this lingerie line developed at home? BERRY: Yes. Being married to him, honestly, he has held me to a standard because he’s from there (Paris) and so he’s very picky about, you know, if I don’t have on something quite right he’s like, “What’s this?” Okay. It’s that time of the month so I chose some red. In three days, I’ll be back. He holds me to it, and that’s nice. It’s nice to have a man that notices and cares. ESSENCE.com: And appreciates it. BERRY: …and appreciates it, yes, and appreciates it. ESSENCE.com:Will Molly Woods be wearing Scandale next season?
Lost star Adewale Akinnuoye-Agbaje is tackling another role in a Sony film, this time joining Will Smith in the studio’s untitled NFL concussion drama directed by Parkland‘s Peter Landesman. Akinnuoye-Agbaje starred recently in disaster period pic Pompeii and the upcoming Annie remake for Sony.
He’ll play real-life NFL safety Dave Duerson, a three-time Pro Bowl pick who died in 2011 from a self-inflicted gunshot wound to the chest. At his request, Duerson’s brain was sent to researchers, who determined that the athlete had suffered from the debilitating symptoms of chronic traumatic encephalopathy (CTE) caused by his football injuries.Gugu Mbatha-Raw, Alec Baldwin, Bitsie Tulloch, and Albert Brooks also star in the film whichcenters on Smith’s forensic neuropathologist Dr. Bennett Omalu, whose studies on CTE prompt the NFL to take brain-related injuries seriously. Ridley Scott, Giannina Facio, David Wolthoff, Larry Shuman, and Elizabeth Cantillon are producing. Michael Schaefer and David Crockett are executive producers.
Akinnuoye-Agbaje recently filmed a role in Jay Roach’s Trumbo opposite Bryan Cranston, Helen Mirren and Diane Lane. On the small screen, the erstwhile Mr. Eko turned up on Season 5 of HBO’s Game Of Thrones and soon will return to NBC’s Odyssey as series regular. Other recent films include Marvel’s Thor: The Dark World and The Inevitable Defeat Of Mister And Pete. He is repped by APA, Circle of Confusion, the Artists Partnership in the UK, and Felker Toczek Suddleson. article by Jen Yamato via deadline.com
