According to The Journal of Blacks in Higher Education, a new report from the Graduate School of Education at Rutgers University in New Jersey has found that Historically Black Colleges and Universities are doing a terrific job fostering the upward mobility of their students, especially considering a significant share of their students that come from lower-income backgrounds.
The study also found that HBCUs are furthering upward mobility of their student population, which is drawn from the lower economic rungs, than the general college-going population at predominately White institutions.
A key finding of the report is that despite the fact that nearly 70 percent of students at HBCUs attain at least middle-class incomes after graduation. Two-thirds of low-income students at HBCUs end up in at least the middle class.
The report also identified HBCUs that are doing a particularly good job of having their graduates move up the ladder of economic success. For instance, 16.7 percent of the student body at Xavier University of Louisiana is low-income and almost one-third of these students move into the top fifth of income earners.
Tuskegee University, Bennett College, Florida A&M University, Dillard University, and Clark Atlanta University also do a particularly good job fostering upward mobility for their large share of low-income students.
The full report, Income Mobility at Historically Black Colleges and Universities, can be downloaded here.
According to jbhe.com, Julius Davis, an associate professor and mathematics education researcher at Bowie State University, has been selected for the Wilson H. Elkins Professorship by the University System of Maryland.
The award will provide him with a grant to establish a Center for Research and Mentoring of Black Male Students and Teachers.
“It’s humbling and an honor to receive such an award. It feels great to know that the University System of Maryland thought that it was worth the investment to create a center for research and mentoring of Black male students and teachers at a historically Black university,” said Dr. Davis. “It’s great to be on the cutting-edge by trying to create a center focused on Black male students and teachers. We’ll be creating it from the foundation up.”
The center’s main goal is to support a pipeline of Black males joining the ranks of Maryland’s educators, especially those who specialize in teaching high-demand fields in science, technology, engineering, and mathematics.
Dr. Davis plans to recruit 25 to 50 local students to participate in the center’s workshops, mentoring programs, and field trips throughout the 2019-2020 academic year.
Erwin Prentiss Hill, CEO of Black College Sports Group 360 (BCSG), told HBCU Sports he wants the event to “promote education opportunities to urban youth” who may not know of the schools or how to navigate the college admissions process.
“Greatness comes from historically black colleges and universities. The bottom line is to get more urban youth back to our HBCU’s, so that talented young men and women can add to the legacy of our outstanding predominantly black universities.”
With the decline in HBCU baseball, it's great to see that we'll have the inaugural HBCU World Series.https://t.co/IooNq6GXle
The cost of playing sports can add up quickly for families. It’s especially difficult to have to pay for a glove, cleats, bats and even uniform costs, now that there are fewer programs supported through park or school programs.
Participating on a travel team is even costlier and can require more shuttling around from parents, who might already be working multiple jobs to get by. Little League is so high-stakes it’s must-see TV in August.
Billy Witz covered the lack of African-American players on HBCU rosters Monday for the New York Times and noted the decline of baseball through the eyes of Bethune-Cookman athletic director Lynn Thompson. Thompson said places where he played sandlot ball in the 1960s were paved over for basketball courts and parking lots.
“It’s been a huge investment for us,” Renee Tirado, MLB’s chief diversity and inclusion officer, said last spring. “Obviously growing the game amongst our players is a priority, so that uptick has definitely been from a concerted effort.”
Perhaps a focus on HBCU baseball will bring those numbers even higher in the coming years.
HBCU Delaware State University has announced that it will soon establish a Center for Global Africa. The goal of the new center is to re-educate the descendants of enslaved people on not only their African past, but also to renew and strengthen their present connection to the continent of their ethnic origin.
Ezrah Aharone, an adjunct professor of political science, has been the driving force behind the establishment of the center. He believes it will be a major conduit that connects scholars from HBCUs to Africa, where they will collaborate with the intellectual assets on that continent.
“The Center for Global Africa at DSU is designed to be a centralized location and agency to coordinate the diaspora involvement in the affairs of Africa,” Aharone said. “It is a coordinating institution that will involve other HBCUs, as well as corporation sponsors who will be directly involved in the economic facilitation in what we do.”
The new center already has plans to conduct an African economic development project involving asset mapping. Scholars from the center will travel to different African countries, evaluate their assets, and assist the country’s leaders in developing strategic plans for economic growth.
Faculty and students from the College of Business are also planning on contributing to the center’s efforts.
Dr. Akwasi Osei, associate dean of the College of Humanities, Education, and Social Sciences, was a key contributor in the initial work for establishing the center. He believes that it is a great example of the global outreach and service that is happening at Delaware State.
“The idea of the descendants of Africa helping their kith and kin on the continent is not new; it has a long history,” said Dr. Osei. “The Center for Global Africa’s activities, therefore, represent a 21st Century contribution to this noble cause.”
Additionally, plaques in his memory will be mounted on the campuses of four HBCUs where he served on the faculty: Fisk University, Tuskegee University, Howard University, and Tougaloo College.
Dr. Brady was born in Louisville, Kentucky in 1884. He earned a bachelor’s degree from Fisk in 1908. After graduating from Fisk, he taught for four years at Tuskegee before leaving to earn his Ph.D. at U. of Illinois. He returned to teach at Tuskegee once again, followed by positions at Tougaloo, Howard, and Fisk. He served as chair of the chemistry departments at both Howard and Fisk. Dr. Brady passed away on December 25, 1966.
“This landmark designation recognizes the outstanding accomplishments and leadership impact that Dr. Brady has had on the chemical profession,” says ACS Immediate Past President Peter K. Dorhout, who presented the plaque at the designation ceremony on February 5.
“I am proud to be an alumnus of the university that was part of his legacy — dreaming, designing and executing the creation of four outstanding and impactful chemistry programs that have each worked to ensure access to higher education and the chemical professions for so many young African-American men and women over the last century.”
NIKE has named Florida A&M University alumni and FAMU Foundation Board member, G. Scott Uzzell, President and CEO of Converse, Inc., the company announced Friday, Dec 21.
According to The AP, Uzzell comes to Converse from The Coca-Cola Company where he most recently served as President, Venturing & Emerging Brands Group (VEB).
“Scott’s unique blend of experience driving both strategic business growth and strong brand development is well-suited to help unlock the full potential of the Converse Brand and lead its next phase of growth globally,” said Michael Spillane, President, Categories and Product, NIKE, Inc.
Uzzell began his career in sales and marketing at various companies, including Procter & Gamble, Coca-Cola and Nabisco and has held leadership positions at brands such as McDonald’s U.S. Division. Is that’s not impressive enough he reportedly serves on the boards of State Bank and Trust Co., Fairlife LLC and Suja Juice Co.
As head of Coca-Cola’s VEB Group, Uzzell led the development portfolio of high-growth brands for The Coca-Cola Company, including Honest Tea, ZICO Coconut Water, Fairlife Milk and Suja Juice, famunews.com reports.
Uzzell holds an MBA from the University of Chicago and a bachelor’s degree in business administration from Florida A&M. He is also a member of the FAMU’s Foundation Board as well as a member of the Executive Leadership Council (ELC).
Uzzell starts work at Converse on Jan. 22 and will report directly to Michael Spillane, President, Categories and Product, NIKE, Inc. Uzzell reportedly replaces Davide Grassowho retires at the end of the year.
According to via jbhe.com, the state of Maryland approved a new scholarship program in memory of slain Bowie State University student, 2nd Lt. Richard Collins III. In May 2017, Collins was fatally stabbed on the University of Maryland, College Park campus just days before he was scheduled to graduate from Bowie State. Police classified the murder as a hate crime because the attacker was a White man who allegedly went after Collins because he was African American.
In an effort to honor Collins legacy, Maryland Governor Larry Hogan approved legislation to establish the 2nd Lt. Richard W. Collins III Leadership with Honor Scholarship, which will be funded by the state with $1 million annually. Recipients must be eligible for in-state tuition, a member of a Reserve Officer Training Corps, part of an underrepresented group in the ROTC, and must attend a historically black college or university.
The scholarship will be split between Bowie State and Maryland’s three other historically Black universities: Morgan State University, Coppin State University, and the University of Maryland Eastern Shore.
Just before Coachella was rechristened Beychella, Beyoncé Knowles and Balmain creative director Olivier Rousteing had an idea. It happened in a rehearsal, while Beyoncé and her dancers were practicing in their Balmain-made looks inspired by the marching band uniforms of America’s historically black colleges and universities. “When she saw all the dancers loving the outfit—and she was loving her own outfit—she realized that what we were creating on stage for her, for all the dancers, was something really impactful,” says Rousteing. It clicked: Why not make a Beyoncé x Balmain collaboration that could make those poignant graphics available to all of Bey’s fans clamoring for a piece of history?
On Friday, July 13, Balmain will launch a three-piece Balmain x Beyoncé collection in its Paris flagship, with the items going on sale on balmain.com and beyonce.com the following day. Comprised of the yellow and pink sweatshirts Beyoncé wore on stage at Coachella, the collection also includes a black tee with the same sorority-inspired graphic.
“I worked really long with her on the Beychella moments, and the fact that we can release this collaboration that is based on our creativity, Beyoncé and I, is really a big, big step for fashion and music together,” continues the designer. “Beyoncé, she’s such a perfectionist; she’s someone that is so strong and has such a great point of view. She’s about feminism, empowering women, and the idea of bringing that collaboration where we can share the same ideas, the same vision of music, the same vision of fashion, the same vision of what is going on in the world, it’s more than just clothes. It’s a strong message, and I’m really proud to be a part of that.”
He continues: “Sometimes, you create a moment, and it’s just one moment. With the clothes that we are creating now, it’s going to be a moment that keeps going and going and going. This is something really important. Everybody is always telling me about millennials or about the future—this is the future. This is making sure that these iconic moments talk to the young people. This is something important and this collaboration is talking to the new generation and saying you can get that piece, you can be a part of the history.”
The message, as Rousteing tells it, is to never stop dreaming. He relates Beyoncé’s global success, her message of standing against racism and standing for women, as something he wishes he had growing up in France. “This to me feels really emotional because, as you know, I’m of mixed race. I’m black and my parents are white. I grew up in France without having a real identification of being black and being an adult. I couldn’t see myself in the future, in a way, because there were not so many people in the ’80s or early ’90s that could show me a direction,” he says. “For me, working with Beyoncé, it’s more than only music. It’s about history, working with a woman that’s going to be part of the history and has made her own revolution, not only in music, not only in fashion. She is an icon to an entire generation and so many more generations can follow the steps of Beyoncé and say, ‘You give us hope, you make us dream.’ ”
Proceeds from the collaboration will benefit the United Negro College Fund, following Beyoncé’s $100,000 donation to four historically black colleges after her Coachella set. “The donation was the main goal of this collaboration,” says Rousteing. “We don’t forget where we come from. This is really, really important—I come from an orphanage, you know. I think there is something really emotional about our collaboration.”
Balmain x Beyoncé will be available on July 13 at Balmain’s Paris flagship and from July 14 online and at select retailers; tee, $290; sweatshirts, $550–$1,790
Three graduates of historically black colleges and universities (HBCUs) are bringing a stylish take to a trendy craft beer bar in New York’s historic Harlem neighborhood. On June 9, owners Kevin Bradford, Kim Harris and Stacey Lee officially opened the doors of Harlem Hops to the public, making the establishment the first craft beer bar in Harlem to be 100 percent owned by African-Americans.
Harlem Hops sits nestled in the heart of Harlem at 2268 Adam Clayton Powell Jr Blvd., a bustling street alive with independently owned businesses, convenient stores, curious neighbors and schoolchildren counting down the days until summer vacation begins. Walking into the bar gives the feel of everything Harlem embodies: a cozy, close-knit community where everyone is welcome.
“We want Harlem Hops to be Cheers for a lot of people in the neighborhood,” Harris said. “We want it to be the safe haven where you can just come and learn about something different.”
The vision of Harlem Hops began for Harris, a graduate of Clark Atlanta University, nearly five years ago. Born and raised in Harlem, Harris appreciated her neighborhood, but good beer was hard to find. Her quests to drink beer she enjoyed included traveling to Brooklyn to get it.
“I thought, there’s something missing here,” Harris said. “And that’s when it came to me that we should do a beer bar in Harlem. That’s was one of the reasons I thought about it.”
At the time, Harris had been in what she described as a distressed partnership with another business. But upon meeting with restaurant consultant Jason Wallace, Harris learned there was another entrepreneur who shared a similar vision for a craft beer bar. Bradford, a graduate of Hampton University, had the same problems as Harris when it came to finding good beer. Originally from Detroit, Bradford would find himself bringing beer back from his hometown to New York.
“I like good beer, and I couldn’t really find good beer above 125th. To tell you the truth, even above 110th,” Bradford said. “I had to travel to Brooklyn. I had to travel these far distances to get beer I liked. I think back in 2011 or 2012, New York was not really the beer center of the East Coast. Now, New York is pretty much on the map for craft beer. I live in Harlem and I wanted to open a bar in my neighborhood, but the zoning was residential. I could not have a commercial space in my property. That’s when Jason Wallace introduced myself and Kim and I was like, this is it.”
The two met near the end of 2016 and agreed that they could make the partnership work. Harris also ran her ideas past Lee, a fellow graduate of Clark Atlanta University and a trusted entrepreneur Harris had worked with in the past. Lee was more than happy to hop aboard and invest in the business.
“When Stacey came on board, she kind of made us whole in terms of all the bits and pieces,” Harris said. “I have business sense, Kevin is focused on the beer and Stacey brings in the creativity and helps me keep my thoughts together. We’re all married to each other. We love each other. It’s the perfect combination.”
Before long, ideas and concepts of what Harlem Hops could and should be began to fly. The three worked feverishly together to figure out everything from color schemes to beer to food menus. For decor, the group enlisted the help of designers. Matte black and copper would serve as the theme throughout the bar, and Harlem — whether it was in words, light-up messages or a marquee hanging from the ceiling — would be fully represented.
“Luckily, we all had the same style,” Harris said. “We wanted clean lines. We wanted something simple. Something that was a combination of typical beer, but Harlem. Harlem is high-end and upscale, and that’s what we wanted to do. We wanted to bring in some industrial aspects of a beer bar, but we wanted to make it sexy for everybody.”
INDIO, Calif. — Let’s just cut to the chase: There’s not likely to be a more meaningful, absorbing, forceful and radical performance by an American musician this year, or any year soon, than Beyoncé’s headlining set at the Coachella Valley Music and Arts Festival Saturday night.
It was rich with history, potently political and visually grand. By turns uproarious, rowdy, and lush. A gobsmacking marvel of choreography and musical direction.
And not unimportantly, it obliterated the ideology of the relaxed festival, the idea that musicians exist to perform in service of a greater vibe. That is one of the more tragic side effects of the spread of festival culture over the last two decades. Beyoncé was having none of it. The Coachella main stage, on the grounds of the Empire Polo Club here, was her platform, yes, but her show was in countless ways a rebuke.
It started with the horns: trumpets, trombones, sousaphones. For most of the night, the 36-year-old star was backed by an ecstatic marching band, in the manner of historically black college football halftime shows. The choice instantly reoriented her music, sidelining its connections to pop and framing it squarely in a lineage of Southern black musical traditions from New Orleans second line marches to Houston’s chopped-and-screwed hip-hop.
Her arrangements were alive with shifts between styles and oodles of small details, quick musical quotations of songs (Pastor Troy’s “No Mo’ Play in G.A.,” anyone?) that favored alertness and engagement. As always, one of the key thrills of a Beyoncé performance is her willingness to dismantle and rearrange her most familiar hits. “Drunk in Love” began as bass-thick molasses, then erupted into trumpet confetti. “Bow Down” reverberated with nervy techno. “Formation,” already a rapturous march, was a savage low-end stomp here. And during a brief trip through the Caribbean part of her catalog, she remade “Baby Boy” as startling Jamaican big band jazz.
She does macro, too — she was joined onstage by approximately 100 dancers, singers and musicians, a stunning tableau that included fraternity pledges and drumlines and rows of female violinists in addition to the usual crackerjack backup dancers (which here included bone breakers and also dancers performing elaborate routines with cymbals).