The museum will be located in the Bronx and is the brainchild of local hip hop aficionados. New York Governor Andrew Cuomo announced the $3.75M grant last Thursday to the nation’s first museum dedicated to hip-hop.
Now at a temporary location in the Bronx Terminal Market, The Universal Hip Hop Museum is the brain child of New Yorkers who have been on the hip-hop scene since the very beginning. One of these New Yorkers is executive director Rocky Bucano. Born and raised in the Bronx, Bucano was a DJ as a teenager in the early 1970’s.
Bucano describes the 8-year-old museum as an “ambitious, audacious dream.” Bucano’s co-founders include hip-hop legends Kurtis Blow and Grand Wizzard Theodore, who helped pioneer the popular DJ technique known as scratching.
According to CNN the founding board of directors includes Ice-T and cultural ambassadors include New York natives LL Cool J, Rakim, Big Daddy Kane, Grandmaster Flash, Fab Five Freddy and Nas.
In 2018, the Universal Hip Hop Museum announced that Public Enemy’s Chuck D would serve as the chairman of the museum’s celebrity board.
Thanks to the state funding, the 50,000-square-foot hip-hop museum will have a permanent place to call home in Bronx Point come 2023. The museum’s construction will begin in the summer of 2020.
The museum will showcase all aspects of hip-hop culture — from fashion and breakdancing, as well as the evolution of hip-hop — highlighting artists new and old, from the late ’70s to today. The museum will offer workshops, mentorships and programming to help area youths.
According to the Los Angeles Times, Diahann Carroll, star of stage and screen who changed the course of television history as the first African American woman to star in a TV series (1968’s ground-breaking sitcom “Julia”) and to win a lead actress Tony Award, has passed away. She was 84.
The Oscar-nominated actress and breast cancer survivor, who also starred in “Paris Blues” with Sidney Poitier, Paul Newman and Joanne Woodward, primetime soap “Dynasty” and “White Collar,” died of cancer, her daughter Suzanne Kay said Friday.
Born Carol Diahann Johnson in 1935 in the Bronx, Carroll moved to Harlem with her parents at a young age. With their support, she enrolled in dance, singing and modeling classes and attended Music and Art High School with Billy Dee Williams, who would later costar with her in “Dynasty.” By 15, Carroll was modeling for Ebony, and by 18 she got her big singing break after winning the televised talent show “Chance of a Lifetime” in 1954.
Carroll debuted as an actress in 1954’s Oscar-nominated adaptation of “Carmen Jones,” a retelling of the Bizet opera with an all-black cast alongside Dorothy Dandridge, Harry Belafonte and Pearl Bailey. In 1959, she headlined the musical “Porgy and Bess” with Dandridge, Sidney Poitier and Sammy Davis Jr.
Carroll was nominated for a lead-actress Oscar for her turn as a single mother in the 1974 comedy “Claudine” opposite James Earl Jones, and earned a Tony Award in 1962 for Richard Rodgers’ “No Strings.”
In the late 1960s, Carroll was cast in “Julia,” the enormously successful NBC sitcom that featured her as a war-widowed nurse raising a son.
Carroll won a Golden Globe for female TV star and a nomination for best TV show, among other nods. She also earned a lead actress in a comedy Emmy nomination in 1969. Because the show was sponsored by toymaker Mattel, she served as the model for one of the first black Barbie dolls and found her likeness plastered on a variety of merchandise, including lunch boxes and coloring books.
Nobel laureate and Pulitzer Prize-Winning Author Toni Morrison, who wrote the acclaimed novels “Beloved,” ”Song of Solomon,” “The Bluest Eye,” “Jazz,” and “Sula” among other works, has passed away at age 88.
According to yahoo.com, publisher Alfred A. Knopf announced that Morrison died Monday night at Montefiore Medical Center in New York. Morrison’s family issued a statement through Knopf saying she died after a brief illness.
“Toni Morrison passed away peacefully last night surrounded by family and friends,” the family announced. “The consummate writer who treasured the written word, whether her own, her students or others, she read voraciously and was most at home when writing.”
“Her writing was not just beautiful but meaningful — a challenge to our conscience and a call to greater empathy,” Obama wrote Tuesday on his Facebook page. “She was as good a storyteller, as captivating, in person as she was on the page.”
“Narrative has never been merely entertainment for me,” she said in her Nobel lecture. “It is, I believe, one of the principal ways in which we absorb knowledge.”
The second of four children of a welder and a domestic worker, Morrison was born Chloe Ardelia Wofford in Lorain, Ohio, a steel town outside of Cleveland. She was encouraged by her parents to read and to think, and was unimpressed by the white kids in her community.
Recalling how she felt like an “aristocrat,” Morrison believed she was smarter and took it for granted she was wiser. She was an honors student in high school, and attended Howard University because she dreamed of life spent among black intellectuals.
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.”