Haley Taylor Schlitz, who graduated from high school at 13 via homeschooling and completed her bachelor’s degree via Tarrant County College and Texas Woman’s University, will now pursue a law degree at Southern Methodist University’s Dedman School of Law.
The Dallas-based institution is one of nine schools that accepted Schlitz and is recognized as one of the top 50 law schools in the country. Among the other schools that accepted her were the University of Arkansas at Little Rock, Howard University, and Texas Southern University.
According to newsone.com, Schlitz’s family recognized she was gifted at an early age. Her parents decided to homeschool her to give Schmitz the opportunity to learn at her own accelerated pace.
Schlitz, who was a guest on Good Morning America Wednesday, initially wanted to follow in her mother’s footsteps and pursue a career in medicine, but witnessing all of the inequality in our country motivated her to want to become a lawyer.
“It is my hope that I can bring my passion for addressing education equity issues, and help facilitate a program that focuses on the legal advocacy needs of underserved students and their families in accessing gifted education programs,” she wrote in a piece for Better Make Room.
“The lack of access to these programs helps promote stereotypes and keeps students of color in our K-12 schools locked in an education system that views them as the problem instead of the solution.”
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.”
For more than 150 years, Howard University has been associated with the highest caliber of scholarship on the African diaspora. Howard’s legacy as a hub for the intellectual exploration of Blackness is widely appreciated in the Africana subset of academia. Lesser known is the woman who conceived and facilitated the development of Howard’s wealth of archival resources into one of the primary centers for the study of people of African descent. The story of Dorothy Porter Wesley, a pioneer in the field of library and information science, is also the story of the triumphant beginnings of a new discipline. As a result of Porter’s vision and dedication, Black special collections began to occupy more prominent roles in their institutions, allowing engagement with historically marginalized narratives through the palpable past.
The Moorland-Spingarn Research Center, an administrative unit containing the libraries, university archives, museum, and additional special collections at Howard University is the realization of a vision from centuries past. During Reconstruction, former Union general Otis Howard and his supporters in Washington D.C., founded the university that bears his name. From its inception, the school was to have a library. The first board members, many of whom were prominent figures in the local Black community or wealthy northern abolitionists, donated swaths of manuscript material, mostly concerning Africa and abolitionism.
These contributions reflected a wave of interest in studying Black history that coincided with the introduction of Black historical societies across the country in the late nineteenth and early twentieth centuries. In significant numbers, the Emancipated were reclaiming a history that white supremacy attempted to erase. After hundreds of years of white people in the United States denying Black people their agencies, histories, languages, and cultures, the very act of consolidating materials for study was radical, and the undercurrent of this practice is the genesis of a dedicated examination of Blackness.
Growing in an ebb and flow of major donations and smaller, continuous gifts, the Moorland-Spingarn Research Center evolved from a one-room study in 1917 to a large-scale Foundation by the turn of the century. The University accepted donations of personal libraries and papers, including first editions and other rare texts and writings from Howard and his contemporaries. The generosity of donors was not unique to the University. Wherever freedmen settled, one of the first institutions in their communities was a school, and teachers were highly regarded. Additionally, wealthy, white, northern philanthropists felt strongly that contributing to the education of the formerly enslaved would partially atone for the “earthly torment” of the Atlantic Slave Trade. In these respects, the origins of Howard’s collections are comparable to those of peer institutions, although the school’s Du Boisian ethos differentiated it from its primarily vocational contemporaries.
By the 1930s, Howard University was one of the premier academic establishments for Black elites and their progeny. Sixty-five years removed from enslavement, the first generation of Howard graduates made way for a new crop. Among this number was Dorothy Porter.
According to blavity.com, while attending Howard University, Damon Lawrence worked in the hotel industry as a front desk agent, and decided he would own his own hotels one day with one exception–his business would cater exclusively to blackness. “Black culture leads American culture and American culture leads global culture, so [we] think it’s time a hotel property reflected the best of black culture,” Lawrence.
The young entrepreneur, along with his business partner and co-founder of Homage Hospitality, Marcus Carey (also a Howard alum), opened the doors to The Moor in New Orleans, Louisiana, this week. The upscale 10-room hotel pays homage to the Moors of North Africa through its architecture aesthetic. (You can use the promo code “Launch” through July 4th for 60% off your stay.)
Lawrence and Carey plan to open locations where black “culture is thriving;” such as Washington, D.C., Brooklyn and Detroit. The duo plans to open a 102-room property called The Town Hotel in Downtown Oakland by 2019. Even sooner, they plan to launch another property in the Treme section of New Orleans called The Freeman; it is known as the first place in the U.S. black people could purchase property.
“We want to go everywhere that culture exists and thrives, so there’s plenty on the plate”, Lawrence says.
To learn more about these men and their mission, check out their recent interview with Rolling Out.
The jurors were looking at her when they filed into court. That, Dovey Johnson Roundtree knew, could have immense significance for her client, a feebleminded day laborer accused of one of the most sensational murders of the mid-20th century.
Little had augured well for that client, Raymond Crump Jr., during his eight-day trial in United States District Court in Washington: Mr. Crump, who had been found near the crime scene, was black and poor. The victim was white, glamorous and supremely well connected. The country, in the summer of 1965, seethed with racial tension amid the surging civil rights movement.
Federal prosecutors had amassed a welter of circumstantial evidence — including 27 witnesses and more than 50 exhibits — to argue that on Oct. 12, 1964, Mr. Crump had carried out the execution-style shooting of Mary Pinchot Meyer, a Washington socialite said to have been a former lover of President John F. Kennedy.
By contrast, Ms. Roundtree, who died on Monday at 104, had chosen to present just three witnesses and a single exhibit to the jury, which comprised men and women, blacks and whites. Her closing argument was only 20 minutes long.
Now, on July 30, 1965, the jury, having deliberated, was back. The court clerk handed the verdict slip to the judge, Howard F. Corcoran. For most observers, inside the courtroom and out, conviction — and an accompanying death sentence — was a foregone conclusion.
“Members of the jury,” Judge Corcoran said. “We have your verdict, which states that you find the defendant, Ray Crump Jr., not guilty.”
Ms. Roundtree’s defense, which hinged partly on two forensic masterstrokes, made her reputation as a litigator of acuity, concision and steel who could win even the most hopeless trials. And this in a case for which she had received a fee of one dollar.
“As a woman, and as a woman of color in an age when black lawyers had to leave the courthouse to use the bathrooms, she dared to practice before the bar of justice and was unflinching,” Katie McCabe, the co-author of Ms. Roundtree’s memoir, “Justice Older Than the Law,” said in an interview for this obituary in 2016. “She was a one-woman Legal Aid Society before people used that term.”
Officer, Lawyer, Minister
Ms. Roundtree’s victory in the Crump case was not her first noteworthy accomplishment, and it was by no means her last. Born to a family of slender means in the Jim Crow South, Ms. Roundtree — or the Rev. Dovey Johnson Roundtree, as she was long formally known — was instrumental in winning a spate of advances for blacks and women in midcentury America, blazing trails in the military, the legal profession and the ministry.
As an inaugural member of the Women’s Army Auxiliary Corps (later the Women’s Army Corps), she became, in 1942, one of the first women of any race to be commissioned an Army officer. Attaining the rank of captain, she personally recruited scores of African-American women for wartime Army service.
As a Washington lawyer, she helped secure a landmark ban on racial segregation in interstate bus travel in a case that originated in 1952 — three years before Rosa Parks refused to yield her seat in Montgomery, Ala.
As a cleric, Ms. Roundtree was one of the first women to be ordained a minister in the African Methodist Episcopal Church.
In 2009, in a statement honoring the publication of “Justice Older Than the Law,” the first lady, Michelle Obama, said, “As an Army veteran, lawyer and minister, Ms. Roundtree set a new path for the many women who have followed her and proved once again that the vision and perseverance of a single individual can help to turn the tides of history.”
Yet for all her perseverance, and all her prowess, Ms. Roundtree remained, by temperament, choice and political circumstance, comparatively unknown.
“One has to start with the fact — and I think it’s an acknowledged fact — that the civil rights movement was notoriously sexist,” Ms. McCabe said in 2016. “There were many men who did not appreciate being ground up into hamburger meat by Dovey Roundtree. There are many, many white lawyers — male — in Washington who were humiliated by having been beaten by a black woman. And I think that played out in a number of ways. And one of those ways has been a diminution in the recognition that I think her accomplishments merit.”
Chadwick Boseman, the 41-year-old star of Black Panther, may have Oscar-winner and 2018 nominee Denzel Washington to thank for some of his success. While studying at Howard University in the late ’90s, Boseman and some of his peers applied to a prestigious summer theater program at The University of Oxford. The group of students got in, but they couldn’t afford to go.
One of their acting teachers at Howard, actress Phylicia Rashad from The Cosby Show, “pushed for us,” Boseman told Rolling Stone. “She essentially got some celebrity friends to pay for us to go.” It wasn’t until after the program when he got a beneficiary letter and found out who funded the program: “Denzel paid for me. I’m sure he has no idea. … I’ve been waiting to meet him, so I can tell him.”
Boseman wrote Washington a thank-you letter, but he didn’t tell anyone else about it for two decades. “I’ve basically been holding this secret my whole career,” he told Jimmy Fallon on The Tonight Show, explaining that he didn’t want Washington to feel like he owed him anything else.
Boseman wanted to meet Washington in person before saying anything. He hadn’t met him before the Rolling Stone interview but, after 20 years, he figured it was OK to reveal the detail. As Boseman told Fallon: “I think I’ve made it to the point where he’s not going to think I’m trying to get something from him by saying it.”
Coincidentally, just before the Rolling Stone feature came out, Boseman got to meet his benefactor. Washington came to the New York premiere of “Black Panther,” and, “I met him, before the article came out,” Boseman told Fallon. “So I actually lived up to what I originally wanted to do. It was amazing.”
When Fallon asked how the introduction went, Boseman recalled how he thanked him for paying for Oxford a while back, to which Washington jokingly replied: “Oh, so that’s why I’m here. You owe me money! I came to collect!”
Last week, model Anok Yai made history at Prada‘s Fall 2018 show during Milan Fashion Week.
The 19-year-old became the second black model to ever open a Prada show. The first was Naomi Campbell back in 1997. Yes, it’s been over two decades since a woman of color opened a Prada runway.
Anok took to Instagram to thank Miuccia Prada, along with her team, for the opportunity, writing, “Can’t believe I’m the first black woman to open for Prada since queen @iamnaomicampbell, forever grateful.”
The model’s monumental runway walk is especially incredible as she was just discovered last fall while attending Howard University’s homecoming. Weeks later, she signed with Next Models. And just one month ago, she made her runway debut at Prada’s Menswear Fall 2018 show.
Of course, the fact that Prada hasn’t cast a woman of color to open its show in over two decades is problematic in itself. In the past, the brand has come under scrutiny for its lack of diversity both on the runway and in its campaigns. Hopefully, Anok opening the Fall 2018 show is an indication the Italian fashion house is headed in the right direction when it comes to diversity.
Extremely slowly, but surely, more and more brands are recognizing the importance of casting diverse runways. This season’s Fall 2018 shows at New York Fashion Week marked the most racially diverse of all time—with women of color accounting for 37.3% of all castings. Still, there’s a lot of work to be done.
The University of California Berkeley is naming its newest residence hall in honor of David Blackwell. Dr. Blackwell, an accomplished statistician, was the first African American to be grant tenured at the university. He joined the mathematics department at Berkeley in 1954 and stayed on the faculty there until retiring in 1988. Dr. Blackwell died in 2010.
The new residence hall will house 750 undergraduate students and is expected to be ready to open this fall. Chancellor Carol Christ said that Professor Blackwell is “an exemplar of what Berkeley stands for: scholarly excellence of the highest caliber tied to a mission of social justice and inclusion.”
A native of Illinois, in 1935 Blackwell entered the University of Illinois at the age of 16. By 1941 he had earned bachelor’s, master’s, and Ph.D. degrees in mathematics. He then joined the Institute of Advanced Study in Princeton but left after one year. Professor Blackwell taught at Southern University and Atlanta University before joining the faculty at Howard University in 1944. At Howard, he became a full professor and chaired the department of mathematics. In 1965 Dr. Blackwell was the first African American to be inducted into the National Academy of Sciences.
A landmark exhibition of abstract paintings, sculptures and works on paper by 21 black women artists will be on view at the National Museum of Women in the Arts (NMWA) from Oct. 13, 2017–Jan. 21, 2018. Magnetic Fields: Expanding American Abstraction, 1960s to Today places the visual vocabularies of these artists in context with one another and within the larger history of abstraction. This exhibition celebrates those under-recognized artists who have been marginalized, and argues for their continuing contribution to the history and iconography of abstraction in the United States. Magnetic Fields is the first exhibition dedicated exclusively to the formal and historical dialogue of abstraction by black women artists.
From the brilliant colors and energetic brushwork of Alma Woodsey Thomas’s paintings to shredded tire sculptures by Chakaia Booker, works featured in this exhibition testify to the enduring ability of abstraction to convey both personal iconography and universal themes. The exhibition underscores the diversity of abstract art, which lies in its material construction and conceptual underpinnings, as well as in its practitioners.
Magnetic Fields features a range of works, including early and later career examples, several exhibited for the first time, and the long-awaited reappearance of iconic works such as Mavis Pusey’s large-scale painting Dejyqea (1970), featured in the Whitney Museum of American Art’s landmark 1971 exhibition Contemporary Black Artists in America.
“By highlighting each artist’s individual approach to materials, composition, color and content, Magnetic Fields creates a context for a lively and visual conversation among these artists,” said NMWA Director Susan Fisher Sterling. “The project also vigorously expands the art-historical narrative on post-war American abstract art. This exhibition shifts our attention to key practitioners who have not received their due, fostering a deeper appreciation of their accomplishments and asserting a new parity of value for their work.”
Magnetic Fields also pays tribute to the lived experience of each of the featured artists who have come individually to pursue abstraction, disrupting the presumption that only figurative works can convey personal experience. Collectively, work by the select group of prolific creators, born between 1891 and 1981, represents a range of approaches rooted in Abstract Expressionism, Color Field painting and Minimalism, with emphasis on process, materiality, innovation and experimentation. The artists in the exhibition are:
You may think your graduation was lit, but did you and every one you know swag surf? No?Well, sit down and read on. Graduates at Howard University and Langston University decided to dance themselves into post-grad life by celebrating with a group swag surfin’ session. And the videos are truly glorious. Take a look at these from a Howard U ceremony that appears to have gone down on May 12: