by Brian Naquin via fox8live.com
A bloodstained shoe served as a reminder of just how dangerous the rescue near Xavier University‘s campus was Monday night. “Without us, he probably would have bled out and stayed in the car until the police got there,” Markevion Kennebrew said. Just before 10 p.m., Kennebrew, Moses Michael, Ronald Haroon, Demetrious Brown and another Xavier student selflessly sprung into action after a man smashed his sedan into a utility pole then crashed upside on the embankment of the drainage canal along Washington Avenue in New Orleans.
“I told my friend I think someone is there. We just got to help then I saw these two guys,” Michael said as he pointed at Brown and Haroon. “[The driver] was like ‘please help’ and I don’t know how you can turn you back away from that,” Haroon said. “We actually made a chain and one person was holding onto the wall because it’s really steep. Dom, that’s the guy who is not here right now, he gave me his jacket and we had to pull the door open and we helped [the driver] up.”
The rescue was not only daring because of the steep embankment and mangled car below them but also because a live-electric wire that sparked in the water just feet away. “The car could have slid down in the water. He could have gotten shocked,” Brown said. “But I feel like it’s our public duty to help people in need. We weren’t thinking (about the wire). We were just thinking to get him out and get him on the street and make sure whoever’s in the car is alright.”
“I know my mom is going to be like you could have been shocked as well,” Kennebrew said. “My mom will probably be mad that I went down there but she’s still going to be happy that I helped people out just being there.”The crash knocked out power to much of the area. Emergency crews rushed the driver to the hospital. The students said he was bleeding from his head and had a large gash on his arm but was able to speak.
Before the rescue, Kennebrew and Michael did not know Brown nor Haroon and vice versa. But after Monday, their bond formed along a dark canal is something that will never be swept away.”Once we heard someone was in there, I just think all four of us realized what we had to do,” Haroon said.
To see video of these young heroes, go to: Five Xavier students rush to save crash victim as a live wire sp – FOX 8 WVUE New Orleans News, Weather, Sports, Social
Posts tagged as “New Orleans”
The 2017 ESSENCE Festival has announced the all-star, night-by-night schedule for its concert series, from June 30 to July 2 at the Superdome in New Orleans, LA.
Single-night tickets are now on sale and are priced starting at $50 per person per night.
The concerts will feature more than 40 acts across five stages in the Superdome throughout the weekend on the festival’s renowned Mainstage and in the intimate Superlounges. Festival first-timers Diana Ross and Chance the Rapper will open and close the weekend concert series with headlining performances on Friday and Sunday night respectively – along with a special all-female Saturday night lineup, inspired by headliner Mary J. Blige’s forthcoming album Strength of A Woman.
Other well-known performers in this year’s line-up include John Legend, india.arie, Jill Scott, Chaka Khan and Solange.
For more information about ticket sales and accommodations and for the latest news about the ESSENCE Festival®, visit www.essencefestival.com, join the festival community by following us on Twitter @essencefest #EssenceFest and become a fan of 2017 ESSENCE Festival® on Facebook.
Today I woke up to a Facebook post that my roommate from college shared on her feed. Her response to that tauntingly generic Facebook encouragement— “What’s on your mind?” seemed a little more perturbed, urgent and determined than usual: “This is a must read! #blacklivesmatter #takeaknee and if u don’t like my hashtags feel free to unfollow me.” Whoa… okay, she had my attention. I found my glasses and I was in. The share was an essay by Solange Knowles about her recent experience with racial discrimination at a Kraftwerk concert.
The essay is entitled “And Do You Belong? I Do…”, and the title is a pretty good indication of what follows. Here we go, I thought… I am about to read about how someone had caused Beyoncé’s sister to feel some type of way. I knew it would be a truthful expression of Solange having to deal with some, well… ignorant mess. I’ve certainly been there. This was going to be a level of discrimination probably more than the norm though, because why else make such an effort to share?
Though the content of the post is not surprising – again, so many of us have been there – the trash throwing did surprise me. (Yes, someone throws trash at Solange and her family.) Really?? It was taken there??? But instead of responding in the moment in a way that likely would have brought negative attention to her and her family, I have to applaud Solange for instead turning to Twitter, then laying it out there again in writing, as well as covering the anticipated naysayers with intelligent responses.
Here is her essay in its entirety:
http://saintheron.com/featured/and-do-you-belong-i-do/
In light of GBN’s own essay on personal discrimination:
https://goodblacknews.org/2016/07/14/editorial-what-i-said-when-my- white-friend-asked-for-my-black-opinion-on-white-privilege/
We are reminded by her action that knowledge is power, well-chosen words are power, and speaking up in protest is power. I think it’s important that she bravely lays it out there for the world to hear.
Thank you, Solange.
article by Taylor Lewis via essence.com
It’s four months out from this year’s ESSENCE Festival in New Orleans, and ESSENCE has just revealed its first look at the 2016 lineup.
For the 22nd year, ESSENCE Fest is bringing sure-to-be-lit nighttime concerts featuring more than 30 of today’s hottest hip-hop and R&B stars. This year’s lineup is a mix of old and new: soul and R&B, hip hop and pop—from Kendrick Lamar to Mariah Carey to Maxwell to Lion Babe.
“The ESSENCE Festival is back in New Orleans with an extraordinary roster of the biggest names and best performers in entertainment—from global music icons to the industry’s rising stars,” said ESSENCE President Michelle Ebanks. “We are welcoming Mariah Carey, Kendrick Lamar and Maxwell to headline the Superdome main stage. In addition, we will be embracing newcomers like Leon Bridges, Jeremih, Lion Babe, Dej Loaf and The Internet, as well as fan favorite Charlie Wilson for the ultimate cultural experience in New Orleans this July 4th weekend.”
Click through to see a full list of performers, and be sure to check back for updates.
Get your tickets here.
To read original article, go to: http://www.essence.com/2016/03/01/2016-essence-festival-lineup-revealed-kendrick-mariah-maxwell-oh-my
New Orleans‘ leaders on Thursday made a sweeping move to break with the city’s Confederate past when the City Council voted to remove prominent Confederate monuments along some of its busiest streets.
The council’s 6-1 vote allows the city to remove four monuments, including a towering statue of Confederate Gen. Robert E. Lee that has stood at the center of a traffic circle for 131 years.
It was an emotional meeting — often interrupted by heckling — infused with references to slavery, lynchings and racism, as well as the pleas of those who opposed removing the monuments to not “rewrite history.”
City Council President Jason Williams called the vote a symbolic severing of an “umbilical cord” tying the city to the offensive legacy of the Confederacy and the era of Jim Crow laws. “If anybody wins here, it will be the South, because it is finally rising,” Williams, who is African-American, said.
Stacy Head, a council member at large, was the lone vote against the removal. She is one of two white council members. She lamented what she called a rush to take the monuments down without adequate consideration of their historic value and meaning to many in New Orleans.
Fixing historic injustice is “a lot harder work than removing monuments,” she said, even as many in the packed council chambers jeered her. She said the issue was dividing the city, not uniting it. “I think all we will be left with is pain and division.”
The decision came after months of impassioned debate. On Thursday, four preservation groups filed a lawsuit in federal court seeking to stop the city from taking down the monuments by challenging the city’s removal process.
Mayor Mitch Landrieu first proposed taking down these monuments after police said a white supremacist killed nine parishioners inside the African-American Emanuel AME Church in Charleston, South Carolina, in June.
Honorees included a musical theater program co-created by comedian Rosie O’Donnell that serves low-income students in New York City.
The first lady presented the awards Tuesday to recognize the nation’s best youth programs that use arts and humanities to develop skills and increase academic achievement. She honored programs that teach ceramics, dance, music, writing, science and more. Each of the U.S. programs will receive $10,000.
The annual White House ceremony included a live performance from winning program, A Commitment to Excellence, or ACTE II. The New York group performed a song and dance medley including “I Got Rhythm,” ”Girls Just Want to Have Fun,” and “Empire State of Mind.”
“Wow…that wasn’t singing, that was ‘sanging,’” Mrs. Obama quipped, referring to the group which she predicted is destined for Broadway.
Mrs. Obama urged continued funding and support for arts and humanities programs, which she said also teach students problem-solving, teamwork and discipline.
“There are millions of kids like these with talent all over the place, and it’s hidden and it’s untapped and that’s why these programs are so important,” Mrs. Obama said. “We wouldn’t know that all this existed without any of these programs and that would be a shame.”
The 2015 National Arts and Humanities Youth Program Awards are hosted by the President’s Committee on the Arts and the Humanities in partnership with three national cultural agencies.
The 13 programs recognized with a National Arts and Humanities Youth Program Award during the White House ceremony are:
— A Commitment to Excellence (ACTE II), New York.
—Action Arts and Science Program, Sioux Falls, S.D.
—Art High, Pasadena, Calif.
—CityDance DREAM Program, Washington.
—Spy Hop Productions, Salt Lake City.
—Milwaukee Youth Symphony Orchestra, Milwaukee.
—Ogden Museum of Southern Art, Inc., New Orleans.
—VSA Indiana, Inc. , Indianapolis.
—The Center for Urban Pedagogy, Inc., Brooklyn, N.Y.
—Deep Center, Inc., Savannah, Ga.
—The Telling Room, Portland, Maine.
—Caldera, Portland, Oregon.
—Organization for Youth Empowerment (OYE), El Progreso, Honduras.
article by Stacy A. Anderson, AP via blackamericaweb.com
When you arrive at Whitney Plantation in Wallace, Louisiana, you’re given an enslaved person’s image and story to wear for the day. Mine was Ann Hawthorne, who was 85 years old when the Library of Congress’s Federal Writer’s Project recorded her personal story of growing up enslaved on the Whitney Plantation, one of many plantations along the Mississippi’s winding River Road. Each story is printed on a laminated card that you wear around your neck—a physical manifestation of the history of slavery; a reminder that real people lived here, died here.
Billed as America’s first-ever museum dedicated exclusively to American slavery, Whitney Plantation sits amid acres of sugar cane that, on the late afternoon of my visit, swayed in a wild wind from a passing tropical depression. The plantation’s swampy land lay heavy with ankle-deep water and hummed with voracious mosquitos. A long row of black and white umbrellas leaned against the visitors’ center and gift shop so that those who had paid $22 a head to tour the grounds were not made uncomfortable by the day’s fine, cool mist of rain.
As I waited for my tour guide, a black woman with long braids led a tour group past a white church, where statues of a young Ann Hawthorne and a dozen other enslaved children seemed to stare directly at—or, really, into—the visitors, who watched a video featuring their testimony.
The entire museum is similar: You walk the same pathways that victims of chattel slavery walked, you listen to their stories in their own words, you see and hear the pieces of history that aren’t printed in textbooks or told on other plantation tours. You won’t find much information on the wealthy slaveowners on this plantation. Instead, Whitney presents slavery through the stories of those who experienced it.
The museum’s creation is owed in part to Dr. Ibrahima Seck, a tall, dark man with a florid African accent, who built the museum along with Whitney’s owner, white New Orleans attorney John Cummings. He has an encyclopedic knowledge of the Antebellum South, and it’s clear that everyone working at Whitney regards him as a living exhibit.
“According to the Trans-Atlantic Slave Database, 60 percent of the people in Louisiana came from Senegambia, my area of Africa,” Dr. Seck told me. “So there are very strong ties here from my home.”
Seck had agreed to give me a private tour, so we climbed into his golf cart and drove past a small, rusty jail. Through its cage bars, we could see the slave masters’ 220-year-old “Big House” in the distance.
“This jail wasn’t on this plantation,” said Dr. Seck, driving faster now so the mosquitos wouldn’t catch up. “It was found in Gonzales, Louisiana, buried in the mud. At the slave markets in New Orleans, this is where the slaves were locked up before being sold.”
There is no fiction here. There is nothing you can deny here. — Dr. Ibrahima Seck
Past seven small cypress wood cabins, which at one time slept dozens of slaves apiece, Seck stopped the cart at the marble Wall of Honor, which displays the names of over 350 people who were once enslaved at Whitney, plus how much each sold for and why. Seck, who originally gleaned all this information from documents found on the property, pointed out enslaved people who were deemed less valuable: a one-armed driver, a mentally-disabled woman, an old man with a hernia. Their prices were lower, but their fate was the same.
“Mentally-disabled or old slaves might be assigned to watch the master’s toddlers or something,” Dr. Seck said. “They sold for less, but were never retired. You worked till you died.”
Norman Francis was just a few years into his tenure as president of Xavier University of Louisiana, a small Catholic institution in New Orleans, when a report that came across his desk alarmed him. It was an accounting of the nation’s medical students, and it found that the already tiny number of black students attending medical school was dropping.
It was the 1970s, at the tail end of the civil rights movement. Francis, a black man in his early 40s, had spent most of his life under the suffocating apartheid of the Jim Crow South. But after decades of hard-fought battles and the passage of three major civil rights laws, doors were supposed to be opening, not closing. Francis, the son of a hotel bellhop, had stepped through one of those doors himself when he became the first black student to be admitted to Loyola University’s law school in 1952.
Francis believed he was in a unique position to address the dearth of black doctors. Xavier served a nearly all-black student body of just over 1,300. At the time, most of Xavier’s science department was housed in an old surplus Army building donated to the college by the military after World War II. It had no air-conditioning, and the heater was so loud in the winter that instructors had to switch it off to be heard. But the science program had always been strong, if underfunded, and began producing its first medical-school students not long after the university was founded in 1925.
Today, Xavier’s campus is mostly wedged between a canal and the Pontchartrain Expressway in Gert Town, a neighborhood in the western part of New Orleans. It has some 3,000 students and consistently produces more black students who apply to and then graduate from medical school than any other institution in the country. More than big state schools like Michigan or Florida. More than elite Ivies like Harvard and Yale. Xavier is also first in the nation in graduating black students with bachelor’s degrees in biology and physics. It is among the top four institutions graduating black pharmacists. It is third in the nation in black graduates who go on to earn doctorates in science and engineering.
Xavier has accomplished this without expansive, high-tech facilities — its entire science program is housed in a single complex. It has accomplished this while charging tuition that, at $19,800 a year, is considerably less than that of many private colleges and flagship public universities. It has accomplished this without filling its classrooms with the nation’s elite black students. Most of Xavier’s students are the first in their families to attend college, and more than half come from lower-income homes.
‘‘The question always comes: ‘Well, how did this happen, and why are we No.1?’ ’’ said Francis, who recently retired from Xavier after 47 years as president. We were sitting in the dining room of his stately home in the Lake Terrace neighborhood on a sweltering day in August as he thought about the answer. ‘‘We decided we could do something about it. And what we did, what our faculty did, was just plain common sense.’’
Xavier University exists within a constellation of more than 100 schools federally designated as historically black colleges and universities. To achieve this designation, colleges must have opened before 1964 — the year Congress passed the Civil Rights Act, which banned racial discrimination in all public facilities and institutions — and must have been founded with the express purpose of educating black Americans, though students of any race can, and do, attend them.