“The most common way people give up their power is by thinking they don’t have any.”
–Alice Walker, Pulitzer Prize-Winning author of “The Color Purple”
Good Black News
Prairie View A&M University and Texas Southern University are among the 97 Historically Black Colleges and Universities (HBCUs) that collectively received $227.9 million in funding from the U.S. Department of Education.
The grant will help HBCUs strengthen their academic resources, financial management systems, endowment-building capacity and physical plants. PV and TSU each received more than $4 million. Seven other Texas HBCUs received between $250,000 and $5.4 million.
LAWRENCE – A grant awarded to a University of Kansas researcher from the National Endowment for the Humanities will spur the creation of an institute on reading and teaching African-American poetry.
The project is led by Maryemma Graham (pictured), a University Distinguished Professor in the Department of English in the KU College of Liberal Arts & Sciences. The institute, “Don’t Deny My Voice: Reading and Teaching African-American Poetry,” will be open to college and university teachers from across the country. NEH awarded $189,000 to support the program.
The institute will be guided by experts in the field and supported by the archival resources of KU’s Project on the History of Black Writing and the Furious Flower Poetry Center at James Madison University.
Graham founded and continues to direct the Project on the History of Black Writing, located within KU’s Department of English, which is the only archive of its kind and has been in the forefront of black literary studies and inclusion efforts in higher education for 29 years. This grant marks HBW’s seventh from NEH and the fifth national institute in its 14-year history at KU. The institute will be coordinated by Sarah Arbuthnot Lendt, Project on the History of Black Writing grant specialist and KU English instructor.
When Greg Weisman and Brandon Vietti pitched the idea of an animated series about a group of superhero sidekicks, you could practically feel fan boys and girls around the world give them the collective side eye. They needn’t have worried as Weisman was a seasoned pro; he created the 90′s cartoon classic “Gargoyles” as well as writing for “Kim Possible” and “Spectacular Spider Man.” Two years later, Weisman is having the last laugh as “Young Justice” has quickly become the hottest property on Cartoon Network.
Col. John McKee’s vision of his legacy, meticulously recorded in his will, was breathtaking:
A garrisonlike naval academy would grace the bank of the Delaware River in Bristol. A bronze replica of the colonel on horseback would survey the boys who traversed the integrated campus. Embossed on their brass buttons would be the name of McKee, said to be the richest African American at his death in 1902.
History did not quite unfold according to McKee’s plan.
Today, McKee remains an obscure giant of Philadelphia history, a businessman whose achievements in life have been at least matched by his contribution in death.
He is responsible for considerably more than 1,000 scholarships given to fatherless boys during the last 57 years, according to the administrator of a trust he endowed. In the last 10 years alone, the McKee Scholarships have funded almost $4 million for the postsecondary education of 239 young men.
And yet for 89 years, he lay in an unmarked grave; not the brick-and-marble family vault he ordered in his will, not even in his original plot.
McKee wrote his will almost two years before his death, drafting exactly how he wanted to be remembered. But even with a fortune estimated at $2 million, in death he quickly lost control of events.
Born in Alexandria, Va., McKee made his way at 21 to Philadelphia in the early 1840s.
He initially found work in a livery stable and then a restaurant at Eighth and Market Streets owned by James Prosser, a well-known African American caterer. McKee married Prosser’s daughter Emeline, and ran the restaurant until 1866, before he started buying property throughout Philadelphia.
At his death, his holdings were an empire: more than 300 rental houses in the city, as well as his own house at 1030 Lombard St., an estate in Bristol Township, Bucks County, and several hundred thousand acres throughout West Virginia, Georgia, and Kentucky.
Tony Abulu, center; with Bern Cohen, left; and Andre Leigh during the filming of “Doctor Bello.” (Ángel Franco/The New York Times)
On the surface the production that commandeered a few dormant rooms at the Coler-Goldwater Specialty Hospital on Roosevelt Island this year resembled many other low-budget film projects in New York City. Crew members were each handling multiple jobs. Those from out of town were spending their short nights on friends’ couches. The catering consisted of a box of Dunkin’ Donuts and a carton of coffee, both empty by late morning.
The film “Doctor Bello” also features Genevieve Nnaji, left; Isaiah Washington, center; and Olumide Bakare.
But despite the production’s humble appearance there was a lot riding on it. Its director and producer, Tony Abulu, and his financial backers say the film, “Doctor Bello,” has the potential to chart a new direction for the booming Nigerian film industry half a world away.
That industry, known as Nollywood, is perhaps the world’s third-largest filmmaking industry in revenues, producing more than 1,000 titles every year. But the industry is known for churning out slapdash films with feeble story lines, amateurish acting and sloppy production values. Nearly all go straight to video and are soon forgotten.
That industry, known as Nollywood, is perhaps the world’s third-largest filmmaking industry in revenues, producing more than 1,000 titles every year. But the industry is known for churning out slapdash films with feeble story lines, amateurish acting and sloppy production values. Nearly all go straight to video and are soon forgotten.
Tony Abulu, center; with Bern Cohen, left; and Andre Leigh during the filming of “Doctor Bello.” (Ángel Franco/The New York Times)
On the surface the production that commandeered a few dormant rooms at the Coler-Goldwater Specialty Hospital on Roosevelt Island this year resembled many other low-budget film projects in New York City. Crew members were each handling multiple jobs. Those from out of town were spending their short nights on friends’ couches. The catering consisted of a box of Dunkin’ Donuts and a carton of coffee, both empty by late morning.
The film “Doctor Bello” also features Genevieve Nnaji, left; Isaiah Washington, center; and Olumide Bakare.
But despite the production’s humble appearance there was a lot riding on it. Its director and producer, Tony Abulu, and his financial backers say the film, “Doctor Bello,” has the potential to chart a new direction for the booming Nigerian film industry half a world away.
That industry, known as Nollywood, is perhaps the world’s third-largest filmmaking industry in revenues, producing more than 1,000 titles every year. But the industry is known for churning out slapdash films with feeble story lines, amateurish acting and sloppy production values. Nearly all go straight to video and are soon forgotten.
Mickalene Thomas: Origin of the Universe Portraits by this artist in this Brooklyn Museum show. (Librado Romero/The New York Times)
Mickalene Thomas’s brash, exuberant paintings don’t care what you think of them; they are much too busy simply — or not so simply — being themselves. Their sense of independence is driven home by this artist’s invigorating exhibition at the Brooklyn Museum, along with the realization that the museum’s populist program sometimes hits the nail on the head.
Organized by the Santa Monica Museum of Art in California, and substantially expanded in Brooklyn, “Mickalene Thomas: Origin of the Universe” is a show of broad appeal, free of dumbing down. It has examples of the large, color photo-portraits and clusters of the small, truculent collages that function as studies for Ms. Thomas’s paintings while being works of art themselves.
Mickalene Thomas: Origin of the Universe Portraits by this artist in this Brooklyn Museum show. (Librado Romero/The New York Times)
Mickalene Thomas’s brash, exuberant paintings don’t care what you think of them; they are much too busy simply — or not so simply — being themselves. Their sense of independence is driven home by this artist’s invigorating exhibition at the Brooklyn Museum, along with the realization that the museum’s populist program sometimes hits the nail on the head.
Organized by the Santa Monica Museum of Art in California, and substantially expanded in Brooklyn, “Mickalene Thomas: Origin of the Universe” is a show of broad appeal, free of dumbing down. It has examples of the large, color photo-portraits and clusters of the small, truculent collages that function as studies for Ms. Thomas’s paintings while being works of art themselves.
A San Antonio company has been ordered to pay $200,000 to three black ex-workers who say they were racially harassed by derogatory comments and a noose at the office.
The Equal Employment Opportunity Commission on Thursday announced a federal jury’s punitive damages against AA Foundries Inc. The company makes components for water wells.
The EEOC says a company superintendent called adult African-American males “boys.” A noose was found at the workplace after several employees filed harassment charges. Authorities say the superintendent said the noose was “no big deal” and the workers were “too sensitive.” The three men later left the company. The EEOC sued last year.
AA Foundries lawyer Stephen White says the company will appeal.