NBA champion and living legend Michael Jordan, along with Nike‘s Jordan Brand, is giving $1 million to Morehouse College to boost journalism and sports-related studies, according to espn.com.
The gift announced Friday was originally launched with a donation from director Spike Lee. The donation will help fund scholarships, technology and educational programming for students in those fields.
“These grants will be well-spent,” says Lee, film director, producer and alumni of Morehouse. “There’s going to be a rich legacy of storytellers who will be supported by these programs. Many people are influenced to think a certain way about Black folks based on what they see on television and in Hollywood. We’ve got to tell our story.”
The donation is part of a larger philanthropic donation by Jordan and Jordan Brand called the Black Community Commitment, which has directed donations to the Smithsonian Institution’s National Museum of African American History and Culture and the Ida B. Wells Society, among other organizations.
“Morehouse is grateful to Michael Jordan and Jordan Brand for an investment in the education of talented men of color who will ensure there is equity, balance, and truth in the way sports stories are framed and the way the Black experience is contextualized within American history,” said Monique Dozier, vice president for institutional advancement at Morehouse.
“Education is crucial for understanding the Black experience today,” Jordan said. “We want to help people understand the truth of our past and help tell the stories that will shape our future.”
President of the NAACP Arkansas chapter during the civil rights movement and co-publisher of The Arkansas State Press, a newspaper dedicated to advocacy journalism for African-Americans.
Bates is best known for organizing and shepherding the Little Rock Nine as they desegregated Central High in 1957 in the wake of the Brown v. Board of Ed.U.S. Supreme Court decision.
Bates regularly drove the students to and from school, hosted them in her home after school and worked tirelessly to ensure they were protected from violent crowds.
One of her most successful protection strategies was to get local ministers to escort the students to school, daring the white Christians protesting and hurling threats to attack men of the cloth. Bates’ plan worked, but she started to receive threats herself.
Rocks were thrown into her home, crosses were burned on her property, and bullet shells were sent to her in the mail. White advertisers boycotted her newspaper and eventually she had to shut it down.
Daisy Bates and the Little Rock Nine (Credit: Everett Collection Historical / Alamy Stock Photo)
Bates received support from Dr. Martin Luther King, Jr., who assured her, “World opinion is with you. The moral conscience of millions of white Americans is with you.” Bates was also elected to the executive committee of King’s Southern Christian Leadership Conference (SCLC).
In 1960, Bates moved to New York City and wrote her memoir The Long Shadow of Little Rock, then later moved to Washington D.C., and worked for the Democratic National Committee.
Bates was also the only woman who spoke at the 1963 March on Washington during the official program, pledging that women would fight just as hard and long as the men until all Black people were free and had the vote.
Bates later served in the administration of President Lyndon B. Johnson and worked on anti-poverty programs. In 1968 she moved to the rural black community of Mitchellville, Arkansas and worked there to improve the lives of her neighbors by establishing a self-help program which was responsible for new sewer systems, paved streets, a water system, and community center.
Rep. John Lewis, an iconic pioneer of the Civil Rights Movement and Freedom Rider who literally shed his blood in the fight for Black voting rights and went on to become a 17-term Democratic member of Congress, died yesterday from pancreatic cancer. He was 80 years old.
Regardless of his health issues, Lewis took to the streets again in early June to join protests for racial justice near the White House that were in response to the police killings of George Floyd, Breonna Taylor and Rayshard Brooks, among others.
Lewis was born in Troy, Alabama and attended segregated schools before earning his college degree at Fisk University in Nashville.
While a student there, Lewis organized his first sit-in demonstration at a lunch counter and was soon arrested for what he started to call “good trouble, necessary trouble.”
Today Good Black News wants to share the excellent online resources the National Museum of African American History and Culture has that explain and explore the legacy of Juneteenth, which is now in its 155th year. Click here for more and read below for an historical overview of Juneteenth:
On “Freedom’s Eve,” or the eve of January 1, 1863, the first Watch Night services took place. On that night, enslaved and free African Americans gathered in churches and private homes all across the country awaiting news that the Emancipation Proclamation had taken effect.
At the stroke of midnight, prayers were answered as all enslaved people in Confederate States were declared legally free. Union soldiers, many of whom were black, marched onto plantations and across cities in the south reading small copies of the Emancipation Proclamation spreading the news of freedom in Confederate States. Only through the Thirteenth Amendment did emancipation end slavery throughout the United States.
But not everyone in Confederate territory would immediately be free. Even though the Emancipation Proclamation was made effective in 1863, it could not be implemented in places still under Confederate control.
As a result, in the westernmost Confederate state of Texas, enslaved people would not be free until much later. Freedom finally came on June 19, 1865, when some 2,000 Union troops arrived in Galveston Bay, Texas. The army announced that the more than 250,000 enslaved black people in the state, were free by executive decree. This day came to be known as “Juneteenth,” by the newly freed people in Texas.
The post-emancipation period known as Reconstruction (1865-1877) marked an era of great hope, uncertainty, and struggle for the nation as a whole. Formerly enslaved people immediately sought to reunify families, establish schools, run for political office, push radical legislation and even sue slaveholders for compensation. Given the 200+ years of enslavement, such changes were nothing short of amazing. Not even a generation out of slavery, African Americans were inspired and empowered to transform their lives and their country.
Juneteenth celebration in 1900 at Eastwoods Park. (Credit: Austin History Center)
Juneteenth marks our country’s second independence day. Although it has long celebrated in the African American community, this monumental event remains largely unknown to most Americans.
The historical legacy of Juneteenth shows the value of never giving up hope in uncertain times. The National Museum of African American History and Cultureis a community space where this spirit of hope lives on. A place where historical events like Juneteenth are shared and new stories with equal urgency are told.
Portal Helps People Explore Issues Of Race, Racism And Racial Identity
At the end of May, the Smithsonian’s National Museum of African American History and Culture launched Talking About Race, a new online portal designed to help individuals, families, and communities talk about racism, racial identity and the way these forces shape every aspect of society, from the economy and politics to the broader American culture.
The online portal provides digital tools, online exercises, video instructions, scholarly articles and more than 100 multi-media resources tailored for educators, parents and caregivers—and individuals committed to racial equality.
A rash of racially charged incidents—from an altercation in Central Park to acts of police brutality resulting in the deaths of Breonna Taylor, George Floyd and Rayshard Brooks and the protests they provoked in cities around the country—prompted the Museum to move up the release date of Talking About Race. The portal is free and does not require registration or sign-up to use.
Since opening the museum, the number one question we are asked is how to talk about race, especially with children. We recognize how difficult it is to start that conversation. But in a nation still struggling with the legacies of slavery, Jim Crow laws, and white supremacy, we must have these tough conversations if we have any hope of turning the page and healing. This new portal is a step in that direction.
Spencer Crew, interim director of the National Museum of African American History and Culture
Research shows that many people feel they do not have the information needed to discuss race in a way that is candid, safe and respectful of other viewpoints and experiences.
“The portal offers a wealth of resources to inform and guide discussions—videos, role-playing exercises, targeted questions and more, said Crew.” “We hope that people will use this site to become more comfortable about engaging in honest dialogue and self-reflection.”
The National Museum of African American History and Culture is celebrating National Poetry Month with a Digital Poetry Slam on Friday, April 24.
The Museum will accept videos of original poetry performances and still images of poetry-inspired creations that reflect four different themes: Resiliency, Hope, Community, and Jazz. Members, friends, families, aspiring poets, and artists of all ages are encouraged to participate.
If you are interested, visit NMAAHC’s websitefor inspiration, guidelines, and featured objects from the Museum’s collection.
You can also record a video of yourself performing a poetry piece, or your poetic creation based on one of the designated themes and share your video on your social media platforms using the hashtag #NMAAHCPoetrySlam and tag @NMAAHC so it can “like,” comment, and share.
On this Veteran’s Day, Good Black News is choosing to honor former Union Navy boat captain and oft-hidden historical figure Robert Smalls of South Carolina.
Robert Smalls was the first black man elected to U.S. Congress during Reconstruction.He was born into slavery in 1839 in Beaufort, S.C., and started his remarkable, implausible journey to national prominence by daring to escape slavery during the Civil War with his family.
Smalls, like many other enslaved peoples, was made to work for the Confederate forces during the Civil War. Menial labor such as grave digging, cooking, digging trenches, etc. were the most common jobs, but some enslaved peoples were used in skilled labor positions, such as Smalls, who could navigate the waters in and around Charleston, so was used to guide transport ships for the Confederate Navy.
On May 13, 1862, Smalls convinced several other enslaved people to help him commandeer a Confederate transport ship, the CSS Planter, in Charleston harbor. Smalls sailed from Confederate-controlled waters to the U.S. blockade.
By doing so, not only did he gain freedom for himself, several enslaved peoples and members of his family, his example of cunning and bravery helped convince President Abraham Lincoln to accept black soldiers into the U.S. Army and Navy. Check out PBS video about this event below:
https://youtu.be/igMM_vhb3cA
Smalls became Captain of the same boat for the Union Navy and helped free enslaved peoples as he fought and outwitted the Confederate Navy several more times during the duration of the War. After the South surrendered, Smalls returned to Beaufort, S.C. and purchased his master’s house, which was seized by the Union in 1863. His master sued to get it back, but lost in court to Smalls.
Lonnie G. Bunch, III, Founding Director of the National Museum of African American History and Culture, moderates a panel on the “Heroes of the Civil Rights Movement: Views from the Front Line” at the Civil Rights Summit at the LBJ Presidential Library. (Photo by Lauren Gerson via commons.wikipedia.org)
Lonnie G. Bunch III, the founding director of the Smithsonian National Museum of African American History and Culture (NMAAHC), was appointed the new Secretary of the Smithsonian on Tuesday. According to dcist.com, Bunch is the fourteenth person to hold the position in the Smithsonian’s 173-year history, and the first African American.
As Secretary, Bunch will manage the administration of the Smithsonian’s 19 museums, 21 libraries, and the National Zoo. He is also responsible for its $1.5 billion annual budget. Bunch succeeds David J. Skorton, who announced his resignation in December.
“Lonnie has spent 29 years of his life dedicated to the Smithsonian, so he knows the institution inside and out,” said David Rubenstein, the chair of the Smithsonian Board of Regents on Tuesday. The Board met at the Supreme Court earlier in the day unanimously elected Bunch as Secretary.
“He’s also highly regarded by members of Congress and highly respected by our donor base,” Rubenstein added, while also citing Bunch’s “incredible character” and his leadership of the NMAAHC as major assets.
“You’re going to make a historian cry,” Bunch said when he spoke at Tuesday’s press conference. “This is an emotional moment, because the Smithsonian means so much to me personally and professionally.”
Bunch was the first curator for the California African American Museum in Los Angeles in the 1980s and previously served as president and director of the Chicago History Museum from 2000 to 2005. In 2005, Bunch came to the Smithsonian to steward NMAAHC from conception. He shepherded both the David Adjaye-designed structure, did tireless fundraising, and helped build up and curate the museum’s collection from scratch.
The museum has been such a huge success that tickets are still largely required more than two years after opening, with visitors staying for hours longer than at other facilities. In its first year of operation, NMAAHC welcomed nearly 2.4 million visitors and was the fourth-most visited Smithsonian institution.
“It tells the unvarnished truth,” Bunch told DCist on the one-year anniversary of the museum’s opening. “I think there are people who were stunned that a federal institution could tell the story with complexity, with truth, with tragedy, and sometimes resilience.”
Over his tenure, Bunch and his team of curators made it a point to continue building a collection for the museum’s future, including acquiring artifacts from the Black Lives Matter movement, and to integrate D.C.’s own rich history into the fabric of the museum.
At the 50thNAACP Image Awards, the NAACP announced its historic “Jamestown to Jamestown” event partnership with Ghana, marking the 400th year enslaved Africans first touched the shores of what would become the United States of America.
An official event of Ghana’s “Year of Return,” Jamestown to Jamestown will allow for NAACP leadership, NAACP members, and members of the African American community to honor both ancestors and the struggle for Black liberation in a groundbreaking trek from Jamestown, Virginia to Jamestown in Accra, Ghana in August of this year.
“Jamestown to Jamestown represents one of the most powerful moments in the history of the Black Experience,” said NAACP President and CEO Derrick Johnson. “We are now able to actualize the healing and collective unity so many generations have worked to achieve in ways which bring power to our communities in America, Africa and throughout our Diaspora.”
The Jamestown to Jamestown events kickoff August 18 in Washington D.C., where participants will travel via bus to Jamestown, Virginia for a prayer vigil and candle- ighting ceremony marking the African “Maafa,” a term describing the horrific suffering embedded in the past four centuries related to the enslavement process.
Participants will then travel back to DC for a gathering at the National Museum of African American History and Culture (which was designed by Ghanaian architect Sir David Adjaye) prior to departing to Ghana on a direct flight for 7 to 10 days of cultural, spiritual and cathartic experiences designed to connect the present to the African past.
Some trip events include:
• Prayer Vigil at Jamestown, VA Settlement
• Direct Chartered Flight to Ghana from Washington, DC
Producer Quincy Jones, the subject of Netflix’s new documentary “Quincy,” will attend a screening of the film the festival. (Photo: Chris Pizzello/AP/Invision)
More than 80 movies by and about African Americans will be screened in D.C. next week as part of the inaugural Smithsonian’s African American Film Festival.
The four-day festival, which runs from Oct. 24 – 27, includes films ranging from Hollywood hits to experimental shorts. The event is organized by the National Museum of African American History and Culture.
The festival’s goal is to introduce the breadth and depth of African American film to a wider audience, according to Kinshasha Holman Conwill, the museum’s deputy director.
“There’s something for the cinephile who knows film like that back of her or his hand, and there’s something for the person who’s just learning about African American film,” she said. “From the most popular to the most provocative, it is all here.”
Most of the screenings will take place in the museum’s Oprah Winfrey Theater, though the Freer|Sackler and National Gallery of Art will also host some screenings.
The festival kicks off on Wednesday night with Widows, a new film starring Viola Davis that doesn’t hit theaters until mid-November. The director, Steve McQueen, became the first black filmmaker to win an Academy Award for Best Picture for his 2013 film 12 Years A Slave. If you’re interested in attending the Widows screening, you’re unfortunately out of luck – it’s already sold out.
The festival will also give audiences the chance to see films from the museum’s extensive collection. These range from Garden, a five-minute experimental short from 2017, to Black Panthers, a 1968 documentary about the Black Panther Party and its members’ fight to free their imprisoned co-founder Huey P. Newton.
And while the 2017 Marvel superhero movie Black Panther isn’t part of the lineup, attendees of the festival’s “Night at the Museum” celebration on Oct. 25 will be able to see the costume worn by actor Chadwick Boseman in the blockbuster film on display for the first time. The museum acquired the costume and other objects from the film earlier this year.
Netflix will stream its new documentary Quincy on Friday, Oct. 26. The film tells the story of the iconic music producer and singer Quincy Jones; it was co-produced by his daughter, the actress Rashida Jones. The titular Jones will speak on a panel following the screening.
If you’d rather talk than watch, you can attend one of the festival’s free Exchanges forums at the Freer|Sackler. Discussion topics include stop-motion animation and the museum’s home movie digitization project, Great Migration. Under that program, visitors can bring in home videos made on obsolete media (we’re talking eight-millimeter film and cassettes) and get them digitized and preserved.
“What it allows us to do,” said Rhea Combs, the museum’s film and photographer curator, “is tell the American story through the African American lens. Literally.”
The festival also builds upon work started by the D.C. Black Film Festival to highlight lesser-known black filmmakers and actors for the Washington audience. “We don’t ever want to be the all-consuming Smithsonian that comes into a community and takes over,” Conwill said of its role in the broader film festival ecosystem. The D.C. Black Film Festival celebrated its second event this year.
The African American Film Festival’s closing day features an awards ceremony for the juried film competition. Fifteen finalist films are competing in six different categories: Best Documentary Short, Best Narrative Short, Best Documentary Feature, Best Narrative Feature, Best Experimental & Animation, and the Audience Award.
The festival closes Saturday night with a screening of a film adaptation of James Baldwin’s 1974 novel, If Beale Street Could Talk.
You can buy tickets for specific films or events here, and see the full slate of screenings here. The festival is scheduled to recur every other year at the museum.
This is Daisy Bates.
Bates was also the only woman who spoke at the 1963 March on Washington during the official program, pledging that women would fight just as hard and long as the men until all Black people were free and had the vote.
