The Christopher Wallace Memorial Foundation will host the official street naming ceremony of Christopher “Notorious B.I.G.” Wallace Way to celebrate Brooklyn’s Notorious B.I.G., one of the greatest and most influential rappers of all time.
Voletta Wallace, Faith Evans, B.I.G.’s children T’Yanna Wallace and Christopher Wallace, representatives of the Christopher Wallace Memorial Foundation, members of the city council, and more will be present for the ceremony. Music will be provided by Hot 97’s DJ Enuff.
WHEN: Monday, June 10, 2019, 12-2pm EST
WHERE: Corner of St. James Place and Fulton Street Brooklyn, NY 11238
According to New York Amsterdam News, on Saturday the northeast corner of 123rd Street and Saint Nicholas Avenue in Harlem was renamed in honor of famed acting and civil rights couple Ossie Davis and Ruby Dee (Purlie Victorious, Countdown At Kusini, Do The Right Thing, Jungle Fever).
The Dwyer Cultural Center hosted the ceremonial unveiling of ‘Ruby Dee Place’ and ‘Ossie Davis Way’. Dee and Davis’ children, Nora Day HasnaMuhammad and Guy Davis, attended the event, as did the Rev. Al Sharpton, former New York City mayor David Dinkins, Assemblywoman Inez Dickens and State Sen. Brian Benjamin.
The Dwyer opened its gallery to the public to view an exhibit dedicated to Dee and Davis with numerous storyboards displayed related to the work of the couple and Cliff Frazier. The public also participated in a community mosaic mural.
The day after he turned 18, Amari Frazier learned he had been accepted into New York’s most prestigious arts college Juilliard to study dance. But the real gift could be how he rewards Chicago’s South Side with dance now and for decades to come.
Frazier, a soon-to-graduate senior dancer at The Chicago Academy for the Arts, has used dance to spread love with the non-profit he founded a year ago with friends called Step Into Joy. Step Into Joy performs at churches and groups for those who have been abused, first by dancing for the audience and then dancing with them.
After attending Juilliard, Frazier plans to return to Chicago and build on Step Into Joy to create a dance academy for those who can’t afford it.
“I feel like you need to spread love in the world, more than hate, and there’s a lot of hate on the South and West sides,” Frazier said. “I just want to change the world and change the look of the South and West sides and how people are there. There are better ways to go about things, and dance is a great way to communicate with people. I know I can use dance to really help people and putting smiles on people’s faces.”
To see the Step Into Joy dancers in action, clickhere.
“He wants to give back to his community,” Donna Frazier said. “He sees the struggles in people, and he realizes where dance has taken him, and where it can take others.”
Frazier is the 10th Academy student to be accepted into Juilliard during Chicago Academy Dance Chair Randy Duncan’s tenure. Duncan said Frazier is “is a dancer of enormous talent and has a solid dedication to the art of dance.”
“His ability to focus is outstanding! Amari is one of those rare dancers that catches on to movement after only seeing it once,” Duncan said. “He understands and delivers the message a choreographer gives with all the technique and emotion necessary, which allows him to capture and magnify the spirit of the dance.”
Frazier said attending The Academy has been a godsend for him as a student and performer. And he said it’s only the beginning.
“I want to provide kids who don’t have the funds for dance – because dancing is very expensive – with the resources through my foundation because everyone should have the opportunity to be able to do what they want,” Frazier said. “Dreams should be fulfilled, and they’re possible.”
It’s February 1st, which means it is now officially Black History Month! Although we here at Good Black News celebrate the achievements of Black people every day of the year, it is always lovely when the rest of the U.S. joins in to do the same for at least 28 of them. So, for #BHM2019, GBN will be highlighting the achievements of black women, past and present, who have and are paving the way to a better future.
And what better person to start with than today’s Google Doogle, abolitionist and women’s rights activist Sojourner Truth, who, with “Ain’t I A Woman?” gave one of the most powerful and unforgettable American speeches of all time on what we now call intersectionality?
In 2014, Sojourner Truth was included in Smithsonian Magazine’s list of the “100 Most Significant Americans of All Time” – yet the majority of Americans don’t know who she was, what she did, or they confuse her with Harriett Tubman.
Born Isabella (“Bell”) Baumfree circa 1797, Truth was born into slavery in Swartekill, Ulster County, New York, but escaped with her infant daughter to freedom in 1826. After going to court to recover her son, in 1828 she became the first black woman to win such a case against a white man.
She gave herself the name Sojourner Truth in 1843 after she became convinced that God had called her to leave the city and go into the countryside “testifying the hope that was in her.” Her best-known speech was delivered extemporaneously, in 1851, at the Ohio Women’s Rights Convention in Akron, Ohio.
The speech became widely known during the Civil War by the title “Ain’t I a Woman?,” a variation of the original speech re-written by someone else using astereotypical Southern dialect. Truth was from New York and grew up speaking Dutch as her first language, and had a Dutch accent. During the Civil War, Truth helped recruit black troops for the Union Army; after the war, she tried unsuccessfully to secure land grants from the federal government for former slaves.(https://en.wikipedia.org/wiki/Sojourner_Truth)
There are a lot of other events and details in Truth’s life, of course, including collaboration with Frederick Douglass, William Lloyd Garrison, President Abraham Lincoln and varied suffragists and women’s groups – Truth was known for her persuasive speeches against slavery as well as sexism – she even once defiantly opened her top and showed her breasts during a speech when she was accused of being a man.
But what is remarkable and often not mentioned is that she is likely the first black woman in the U.S. to attain national fame (she sold photos and autographs of herself at events to make money “I sell the shadow to support the substance”) and the first to have her voice heard in America. It is also rather ironic that many of the records of her speeches were written by white men, and thus often altered to their perception of a black, female, former slave.
Some would quote that she had 13 children who were sold away from her (she had 5 and raised most of them) or say she was raving when she was calm. Truth’s was a 19th-century case of what is all too familiar today – media distortion by the dominant culture trying to make sense of “the other”- and in her instance, white men trying to process the experiences and truths of black women.
However, Truth was self-possessed – she claimed her ownership of herself by renaming herself and writing her own Narrative in 1850. Truth traveled and spoke to hostile, indifferent and embracing crowds, fought for women’s rights and black women’s right to vote, fought for land grants and reparations for former slaves, prison reform and the end of capital punishment.
Truth was in her 80s when she died at her home in Battle Creek, Michigan. In 1999, a 12-foot high monument was built in Battle Creek to honor her. The calendar of saints of the Episcopal Church remembers Truth annually, and the Lutheran Church calendar of saints remembers her on the same day as Harriet Tubman.
In 2009, Truth became the first black woman honored with a bust in the U.S. Capitol.
The Columbia University board of trustees recently approved the creation of a new African American and African Diaspora Studies Department. ProfessorFarah Jasmine Griffin, the William B. Ransford Professor of English and Comparative Literature and African American Studies, has been appointed as the chair of the new department.
“Now, more than ever, we need to have both an understanding of that history, but we also need to understand the ways that history contributes to a sense of possibility and vision for the future,”said Dr. Griffin. “Even though we are later than many of our peers, the creation of this department at Columbia is right on time because our nation and our world need the kind of knowledge we produce.”
In 1993, long before there was a centralized department for African studies, Dr. Manning Marable established the Institute for Research in African American Studies (IRAAS) at Columbia. The institute has brought together scholars from a variety of disciplines and continues to bridge scholarship, teaching, and public life. Once the new department has been created, the IRAAS will continue to conduct research.
Now that the department has been approved, Columbia plans to hire new faculty who are experts in the field of African American and African diaspora studies and create a Ph.D. program to produce additional innovative scholarship.
Additionally, the school recognizes the significance of being located in Harlem, a center of Black cultural life in the United States, and plans to collaborate with the surrounding community.
“Departments and academic institutions don’t produce knowledge for the moment, they produce knowledge for the long term,” said Dr. Griffin, who also serves as director of the IRAAS. “Creating a new department is an investment in producing knowledge that is valuable for our country at any time, but especially at this moment, as it reminds us of a historical legacy as well as a vision of America that we need to engage more now than ever.”
In 1972, a black cultural center in Berkeley, California, put out a call for artists to help create an exhibit themed around black heroes. One African American contemporary artist, Betye Saar, answered. She created an artwork from a “mammy” doll and armed it with a rifle.
According to Angela Davis, a Black Panther activist, the piece by Saar, titled “The Liberation of Aunt Jemima,” sparked the black women’s movement. Now, the artist’s legacy is going on view in New York with “Betye Saar: Keepin’ It Clean,” an exhibit opening on November 2nd at the New York Historical Society, featuring 24 artworks made between 1997 and 2017 from her continuing series incorporating washboards. The exhibit runs until May 27, 2019.
“Saar says that it’s about keeping everything clean, keeping politics clean, keeping your life clean, your actions clean,” said Wendy Ikemoto, the society’s associate curator of American art. “She wants America to clean up its act and a lot of her art has to do with this idea that we haven’t cleaned up our act.”
Saar, 92, was born in Los Angeles and turned to making political art after the assassination of Martin Luther King Jr. “After his assassination in 1968, her work became explicitly political,” said Ikemoto. “That’s when she started collecting these racist, Jim Crow figurines and incorporated them in her assemblages.”
Saar was part of the black arts movement, the cultural – often literary – arm of the black power movement of the 1960s and 1970s; she was also among so-called second wave feminists. But she still found herself at a crossroads. “The black arts movement was male-dominated and the feminist movement was white-dominated,” Ikemoto said. “Being at the intersection of both movements, she became one of the most prominent black female artists for presenting strong, recognized women who are fighting off the legacy of slavery. I think it did open doors for other artists to follow.”
This traveling exhibit, from the Craft and Folk Art Museum in Los Angeles, shows Saar’s consistent message through her washboard series. “Many of her works tackle the broad issue of revisioning derogatory stereotypes to agents of change, historical change and power,” said Ikemoto. “Many artworks feature descendants of Aunt Jemima and mammy figures armed to face the racist histories of our nation.”
The exhibit includes “Extreme Times Call for Extreme Heroines,” a washboard piece Saar made in 2017 that features a mammy doll holding a pair of guns. The washboards are used in lieu of canvases and are loaded with symbolism.
“The washboard becomes her frame for the art, it’s the star,” said Ikemoto. “It’s the structure of black labor and she is moving it from a space of invisibility to highlight it. She is also using this humble object of hard labor to subvert notions of fine art.”
Each washboard is like a puzzle to be decoded, filled with small details that reference American history. There are Black Panther fists, references to police brutality and phrases from the Harlem renaissance poet Langston Hughes.
There are also references to Memphis, the city where King was assassinated, and to the Congolese slaves who were killed under the Congo Free State. Some washboards include phrases such as “national racism”.
“It’s as if Saar is suggesting how racism is so entrenched in our nation that it has become a national brand,” said Ikemoto. “She takes something that is a sign of oppression and violence, something pejorative and derogatory, and transforms it into something revolutionary.”
Not all of the artworks are on washboards, however. One piece from 1997, “We Was Mostly ’Bout Survival,” is on an ironing board, emblazoned with an image of a British slave ship.
“I think this exhibition is essential right now,” said Ikemoto. “I hope it encourages dialogue about history and our nation today, the racial relations and problems we still need to confront in the 21st century.”
Sean “Diddy” Combs announced Tuesday that he’s pledging $1 million to the Capital Preparatory Schools network to help provide children from underserved communities access to high-quality education. The school has been approved to expand to a third location in the New York City’s Bronx borough, and is set to open in September 2019.
Capital Prep Schools is a free, public charter school network, currently operating in Harlem and Bridgeport, Connecticut. The schools provide students in grades K-12 with a year-round, college preparatory education and has sent 100 percent of its low-income, minority, first-generation high school graduates to four-year colleges every year since its first class graduated in 2006. Capital Prep Bronx will open to serve 160 students in 6th to 7th grade and will grow to serve 650 students in 6th to 11 grade during an initial five-year term.
“Mr. Combs’ commitment and leadership continue to inspire us. On behalf of the Capital Prep students, parents and teachers I want to express our sincerest gratitude for such a generous gift,” said Dr. Steve Perry, the founder of Capital Prep Schools. “Mr. Combs wanted to open schools to develop leaders. What he’s done with his investment is embody what we expect students to do, which is to invest their resources in our communities.”
Combs is a Harlem native and worked closely with Dr. Perry to expand the school to new locations as well as enlist a team of educators, parents, and business leaders to bring the idea to life. He is also a benefactor.
“I came from the same environment these kids live in every day,” Combs said. “I understand the importance of access to a great education, and the critical role it plays in a child’s future. Our school provides historically disadvantaged students with the college and career skills needed to become responsible and engaged citizens for social justice. We don’t just teach kids to read, write and compute, we teach them how to make a difference and nurture them to be future leaders of our generation.”
In 1863, the French artist Édouard Manet painted Olympia, a reclining nude prostitute, shedding a scandalous light on Parisian brothel culture. But while much of the attention has been on the white model in the painting, Victorine Meurent, the black model beside her, Laure, has been largely overlooked by art historians.
“People have told me, ‘It’s not that I didn’t see the black maid in the painting, I just didn’t know what to say about her’,” said the curator Denise Murrell. “I always felt she is presented in a more stronger light than maids usually are, and I wondered what could be said about her, even though art history said very little.”
From photography to painting and sculpture, as well as film and print correspondence, this exhibit traces how the black figure has been key to the development of modern art over the past 150 years. Many of the artists here bring to light much of what art history has ignored.
“I’m looking for angles that are more relevant than just the standard narrative of the art world,” said Murrell. “I’m giving a number of different narratives that can be discussed around the black figure; there is a wider variety of black models, especially the black female figure, in broader, social roles.”
Among the artists in the exhibit, there are works by Henri Matisse, including “Dame à la robe blanche (Woman in white),” from 1946, showing a black model in a white dress. The painting was made after the artist’s visit to Harlem in the 1930s, where he met local artists as part of the Harlem Renaissance, a black arts movement which celebrated African American culture.
Laura Wheeler Waring, one member of the group, was a painter who made portraits of African American civil rights figures, like author W.E.B. Du Bois and singer Marian Anderson.
“It shows the historical weight and significance of what Harlem artists were doing at the time,” said Murrell. “African American slavery or enslaved individuals were stereotyped and caricatured, and one thing Harlem Renaissance artists wanted to do was give dignity to black female figures, or to black figures, period.”
The other Harlem Renaissance painters in the exhibit include William H. Johnson, who captured the everyday lives of African Americans, whether it was groups of friends in urban settings to rural families, all of which tell “the critical story of modern portrayals of black figures”, said Murrell.
There are also works by Charles Alston, who was known locally for painting murals in Harlem hospitals, but was also recognized as a painter for his portraits of musicians, groups of cotton workers and family portraits. Alston is widely recognized for his bust of Martin Luther King Jr., which today sits in the White House. “He shows African Americans as the urban middle class,” said Murrell. “All aspects of life, high and low, are captured in his paintings.”
The more recent artworks in the exhibit, made over the past 50 years, are different from those, say, 100 years ago. “It’s more empowered because we now have a presence, artists of color,” she said. “You have black portraits by black artists, which broadens the range of artistic styles and strategies.”
There are paintings by female artists such as Mickalene Thomas, who recently captured Cardi B for the cover of W Magazine’s art issue. In “Din, une très belle négresse,” from 2012, is a portrait of a black woman painted colorfully in retro garb.
“She takes 19th-century black women portrayals, but shows them in expressive ways, with rhinestones, afro wigs and a 1970s look,” said Murrell. “They’re women portrayed as sensual but in control of their sensuality, in a manner that shows a black woman who wants to be herself.
“And it’s not just black women, but women period, as sensual but in control of their sensuality and not just for the gaze of the presumed viewer, the white male,” adds Murrell, “You see that perspective unfolding to a more diverse group of artists and subjects of art.”
The exhibit features works by black female artists like Faith Ringgold, known for her quilts portraying black figures like Aunt Jemima, alongside Ellen Gallagher, who has cut up old advertisements of black women to offer her own perspective.
“You can see the evolution as the black figure comes closer to subjectivity, or agency, portrayed by women artists,” said Murrell, “or by showing black women in a way that’s closer to their own modes of self-representation.”
Though the black female figure in art has changed over the past 150 years, there is still progress to be made ahead. “There’s still an underrepresentation of black women artists, and black artists, in the contemporary art world,” said Murrell.
The exhibit is complete in one way, but incomplete in another. “I hope it gives a sense of history to the kind of art we look at today,” said Murrell. “There was a black presence in modern art, we see that in this show and I hope we start seeing more of it.”
More than half a century after the groundbreaking exhibit “The Negro Woman,” the image announcing the show by the African-American collective Kamoinge still captivates. Taken by Louis Draper, who had a keen sense of light and shadow, the photograph shows an older black woman standing on a busy Harlem street corner. In the crowd, her face is finely in focus. She is tired, gazing off into the distance, as she waits, with serious dignity and grace.
It was an everyday scene that in its own way was extraordinary. Led by the astute chronicler of Harlem life, Roy DeCarava, the show aimed to reclaim the beauty of the African-American woman. Kamoinge’s group exhibition was among the first to carefully and radically picture the black woman’s elegance and pride.
“Nothing like that had been done in the community before,” said Adger Cowans, the president and a co-founder of Kamoinge. “The black woman has been underrepresented. Here we are today and we are still looking at black women negatively. We wanted to show their beauty and power.”
Decades after “The Negro Woman,” that same motivation has inspired Kamoinge’s new exhibit, “Black Women: Power and Grace,” at the National Arts Club in New York from May 28 to June 30. “With this exhibition we are showing our love and appreciation to our mothers, wives and sisters,” said Russell Frederick, a co-organizer of the exhibition and Kamoinge’s vice president. “I think black women, who have mostly been objectified in the media, have actually made a major mark on society that really can’t be quantified but has gone unrecognized.”
The show includes several intimate portraits by Mr. Russell that examine traditional notions of beauty and Anthony Barboza’s images of black models, like a bald and beautiful Pat Evans, that affirm them. Among the show’s earliest works is Mr. Cowan’s “Untitled (Betty Shabazz).” Taken in 1965, the black-and-white picture shows Ms. Shabazz coming out the back of a Harlem church where the funeral service for her husband Malcolm X had been held. In an indelible image of strength and loss, Ms. Shabazz’s face is veiled in black lace as a single tear rolls down her cheek.
“That picture meant something to me because my whole universe stood still,” said Mr. Cowan, 81. “It was very emotional for me, she was as big in my eyes as Malcolm. It was important for people to see this image because this woman carried the weight of the world on her shoulders and you can see it on her face.”
Since 2016, the photo collective, founded in 1963, has made an effort to expand ranks — historically dominated by male photographers — with younger, female artists. The group’s new black female members, including the French-Senegalese portraitist Delphine Diallo, join a small company of women like Ming Smith, the first black woman photographer to have her work collected by the Museum of Modern Art.
“Black Women: Power and Grace” also features other female newcomers. Lola Flash has two pictures that bring visibility to the black lesbian community; a 2010 Delphine Fawundu self portrait, “What Do They Call Me, My Name Is Aunt Sara,” challenges us to rethink the names we call black women; and Laylah Amatullah Barrayn’s images explore spiritual practice in Senegal.
“I’ve been watching Kamoinge for most of my career and I’ve seen its growth,” Ms. Barrayn said. “I always felt being a part of Kamoinge was so far-fetched because there weren’t many women in the group.”
Kamoinge’s mission-oriented pictures are populated with individual narratives that have long come together to shape the complex diversity of black women.
“The challenge is to see her differently,” Mr. Frederick said. “We really embrace today’s black woman, who she is and even those who came before her like Maya Angelou, Maxine Waters and Dionne Warwick, who are all holding hands in Eli Reed’s picture.
“Black women have broken barriers, been torch bearers and pioneers,” Mr. Frederick continued. “And at the same time, they have always looked out for all of us in the neighborhood, taking us to church, making Sunday dinner and always having our back.”
According to businesswire.com, Macy’s, Inc. (NYSE:M) recently announced that Paula A. Price will be appointed the national department store’s Chief Financial Officer, effective July 9, 2018.
Price will be responsible for leading the company’s finance, accounting, investor relations and internal audit functions. She will report to Jeff Gennette, Macy’s, Inc. chairman and chief executive officer, and will be based in New York. Price will succeed Karen Hoguet, who plans to retire at the end of the 2018 fiscal year. Ms. Hoguet will remain with Macy’s, Inc. in an advisory role to support the company during a transition period until February 2, 2019.
“I’m excited to have Paula join Macy’s, Inc. at such an important time for our business. She is an accomplished financial executive with an impressive breadth and depth of retail experience and will be a great addition to the team. Having led finance in a variety of complex and dynamic retail organizations, Paula’s insights and experience will serve Macy’s, Inc. well,” said Gennette.
Price joins Macy’s, Inc. with 30 years of finance experience primarily in retail and consumer-facing businesses. She is currently a full-time senior lecturer in the accounting and management unit at Harvard Business School, a role she has held since 2014.
According to the Wall Street Journal, Price also serves as a director on the board of consulting firm Accenture PLC, where she chairs the audit committee and is a member of the compensation committee. She is a director on the boards of Western Digital Corp., Blue Cross Blue Shield of Massachusetts and the Financial Guaranty Insurance Company. Ms. Price resigned from the board of Dollar General Corp. on May 17. Before her stint at Ahold U.S.A. as CFO, Ms. Price was controller and chief accounting officer at CVS Caremark Corp.