Chrissy Teigen and John Legend (ANDREW GOODMAN/GETTY IMAGES)
Despite New York Police Commissioner Bill Bratton’s prediction that public demonstrations over the Eric Garner and Ferguson Grand Jury decisions would “peter out,” the protests are still going strong thanks, in part, to a generous contribution from musician John Legend and his wife model and food blogger Chrissy Teigen. The couple purchased a fleet of food trucks to serve up free food to hungry protesters in New York’s Lincoln Square.
Though neither Legend or Teigen is on the ground or taking direct credit for the trucks, Teigen did retweet the following message to her 500,000 followers:
https://twitter.com/ophelporhush/status/541671670797574144
For his part, Legend has let his art do the talking for him. The musician (who was just nominated for several Grammy awards) co-wrote a stirring track from the upcoming (and sadly timely) film Selma about the three Selma to Montgomery marches in 1965 which led to to the passage of the 1965 Voting Rights Act.
The track, entitled “Glory,” contains the lyrics: “That’s why Rosa sat on the bus/That’s why we walk through Ferguson with our hands up.” article by Joanna Robinson via vanityfair.com
Angella and Dan Henry. Angella Henry said she works day and night to keep the memory of her son alive through the DJ Henry Dream Fund (Credit: Phillip Martin / WGBH)
It’s been four years since a college student from Easton was shot to death by a New York police officer. Since then, Trayvon Martin was killed by a neighborhood watch volunteer and Michael Brown was killed by a policeman. The controversial killings of these young black men have sparked community outrage and scrutiny of the behavior of law enforcement. For the family of Danroy “DJ” Henry Jr., they still wait for the legal process to play out — but they’re also finding ways to remember their son.
This Wednesday would have been DJ Henry’s 25th birthday. The Boston NAACP says that day they will send a letter to the organization’s national members asking them to press the Justice Department for a full and complete investigation into the Henry shooting.
For all the heartache, for all the lingering questions, this was a night to celebrate DJ Henry’s life, shaped by a love of sports.
“We just ask that you think about tonight, not as giving us money, but as helping children who would love to say yes say yes,” said DJ’s father, Dan Henry. “These young children, their biggest need is to remain children.”
Dan Henry told an audience of 400 at the fourth annual DJ Henry Dream Fund that he could not think of a better way to remember his son than by helping others succeed.
One of those helped is Quincy Omari Picket.
“My mom heard about it and she went and signed up, and I got a scholarship,” said the 10-year old from Brockton. “I was happy. I was surprised. I lost 30 pounds. I lost all that weight. I tried on my suit and didn’t have to buy a new one.”
As DJ’s life was remembered at the annual fundraiser, his death is still hard to reconcile. Henry played football for Pace University in New York. After a homecoming game on Oct. 16, 2010, he and several friends went to a bar to celebrate. DJ was the designated driver. So when the bar closed, he went to get the car.
Idling in a fire lane, he was told by a cop to move on, according to witnesses. He did. What happened next is as unsettling today as it was four years ago.
NEW YORK (AP) — A grand jury cleared a white police officer Wednesday in the videotaped chokehold death of an unarmed black man accused of selling loose, untaxed cigarettes, triggering protests in the streets by thousands of New Yorkers who likened the case to the deadly police shooting in Ferguson, Missouri.
Protest in Philadelphia and other cities nationwide mirrored the response after the decision not to indict Officer Darren Wilson in the shooting of Michael Brown.
As the demonstrations mounted, U.S. Attorney General Eric Holder said federal authorities would conduct a civil rights investigation into the July 17 death of Eric Garner at the hands of Officer Daniel Pantaleo.
Staten Island District Attorney Daniel Donovan said the grand jury found “no reasonable cause” to bring charges, but unlike the chief prosecutor in the Ferguson case, he gave no details on how the panel arrived at its decision. The grand jury could have considered a range of charges, from reckless endangerment to murder.
Protesters gathered in Times Square and converged on the heavily secured area around the annual Rockefeller Center Christmas tree lighting with a combination of professional-looking signs and hand-scrawled placards reading, “Black lives matter” and “Fellow white people, wake up.” And in the Staten Island neighborhood where Garner died, people reacted with angry disbelief and chanted, “I can’t breathe!” and “Hands up — don’t choke!”
Deputy Chief Juanita Holmes (left), seen at the 81st Precinct in Brooklyn, which she led with Capt. Vanessa Knight (right), is now in charge of the NYPD’s Domestic Violence Unit. (LINDA ROSIER/NEW YORK DAILY NEWS)
An NYPD chief who made headlines when she was beaten by her husband is the new head of the Domestic Violence Unit, the Daily News has learned. Deputy Chief Juanita Holmes, 50, was picked by Police Commissioner Bill Bratton to replace Deputy Chief Kathleen O’Reilly, who was put in charge of Patrol Borough Manhattan North.
In 2011, Holmes was beaten by her husband on the front lawn of the home of an NYPD detective he accused her of having an affair with.
Holmes, who suffered broken ribs in the attack, told authorities her husband, retired Hempstead, L.I., Detective William Fowlkes, was mistaken. Fowlkes later pleaded guilty to misdemeanor assault. An order of protection was also issued, but he avoided jail time under the condition he attend domestic violence classes.
Sources said the incident did not play much of a role in Bratton’s decision to transfer Holmes, a 27-year veteran.
Juanita Holmes (far left) and her sisters have all been cops. (MICHAEL SCHWARTZ/NEW YORK DAILY NEWS)
“Does being a victim in a domestic incident give you perspective that might help?” one source asked. “Of course, but it’s not why she got the job.”
After the unseemly incident, some NYPD insiders predicted Holmes, then a deputy inspector, would not advance much further in her career. But she returned to her Brooklyn station house, the 81st Precinct, which she ran after her predecessor was transferred following corruption allegations by whistleblower Officer Adrian Schoolcraft.
While there, she testified on the city’s behalf during a civil trial over the NYPD’s controversial use of stop-and-frisk, which she said “can be used to deter a crime that’s about to happen.”
For a time, Holmes’ second-in-command at the 81st was Capt. Vanessa Knight. It’s believed to be the first time two black women ran an NYPD precinct. Holmes was subsequently promoted twice more and is now a deputy chief.
She took over the Domestic Violence Unit on Monday after a short stint as the No. 2 officer at the Training Bureau. article by Rocco Parascandola via nydailynews.com
Cable channel Oxygen has put into development a docuseries following renowned ballerina Misty Copeland.
The show, tentatively titled “The Misty Copeland Project,” follows talented hopefuls from diverse backgrounds as they descend upon New York to take on the next major step in their ballet careers. Who better to train and mentor them than Copeland — the celebrated ballerina who herself has defied all odds and shattered boundaries by overcoming the cultural pressures of professional ballet.
Copeland, who began taking ballet lessons on the basketball court of a Boys & Girls Club at age 13 and was considered a prodigy, made history by becoming the second African-American female soloist in the prestigious American Ballet Theatre. With the opportunity of a lifetime and chance to catapult to the top of the ballet world, these aspiring dancers’ passion, commitment and hard work will be center stage in Misty’s Master Class.
The show is one of four new reality programs added at the NBCUniversal-owned network as part of its rebranded push for young, multicultural women ages 18-34, The Hollywood Reporter has learned. Other new shows follow young Americans teaching English abroad, aspiring celebrity vloggers and groups of friends dishing about current events during cocktail hour.
“From the unbelievably inspirational and talented Misty Copeland, to the bold young women experiencing life abroad, the new development slate appeals to a multitude of female viewers,” said Cori Abraham, senior vp development and international at Oxygen Media. “These projects embrace the new Oxygen programming filter, which focuses on real characters who are on a journey to seek out new experiences and follow their true passions in life.” article via eurweb.com
Fifth-grader Samuel Love is holding his third annual Christmas toy drive for children experiencing tough times. The 11-year old began the drive two years ago in response to Hurricane Sandy.
In 2013, Love managed to collect 1,500 toys and gift cards for children in need. He is aiming to far surpass that this year, however, with a goal of collecting 2,500 toys and gift cards. In a speech announcing the drive, Love says, “As some of you may know, two years ago, I decided that I didn’t want anything for Christmas because I saw on TV the devastation that happened in New York with Hurricane Sandy. I thought about the kids that lived there and how they had just lost everything. So instead of receiving toys, I wanted to give toys to the kids who really needed them.”
Those in the Chicago area can donate toys and gift cards to Love’s toy drive by dropping donations off in the Studio Movie Grill Chatham Theater at 210 West 87th Street. article via thegrio.com
Stevie Wonder performed his 1976 album “Songs in the Key of Life” at Madison Square Garden on Thursday night. (Chad Batka for The New York Times )
“Yes! We did it!” Stevie Wonder exulted, and rightly so, about three hours into his concert at Madison Square Garden on Thursday night. He and a huge band, directed by the keyboardist Greg Phillinganes, had played his 1976 album, “Songs in the Key of Life,” from start to finish, 38 years later and every bit as vibrant.
Mr. Wonder’s voice was bright and true, snaking through the melismas that successive generations of singers have emulated and rising easily through every uplifting key change he had built into the songs. At 64 — he started young — Mr. Wonder showed that his lifelong melding of serious intentions, omnivorous musical sophistication and jubilant execution was utterly sure. He laughingly forgot a lyric, played the wrong harmonica for a moment, sang just enough sour notes to show that he’s human and suffered numerous microphone glitches. It was the first show of a tour. But the concert was a triumph: not a simple nostalgia trip but a return visit to songs and ideas that still matter.
“Songs in the Key of Life” was beloved from the moment it appeared. It won a Grammy as album of the year and is widely cited as a favorite by musicians and pop listeners. In interviews, Mr. Wonder has called it the album he is most happy with. But it’s also a long, sprawling experience: 21 tracks that originally filled two LPs and a four-song EP.
Its songs touch on social ills, individual joys, faith, love, war, music, birth, memories, fears and hopes. One title may sum it up: “Joy Inside My Tears,” a ballad that, when he got to it at Madison Square Garden, had Mr. Wonder pounding the top of his piano with his fist, singing the title again and again with gospelly insistence.
Along with the radio-friendly tracks the album is widely remembered for — “Sir Duke,” “Isn’t She Lovely,” “I Wish,” “Pastime Paradise” — it holds exploratory songs like “Contusion,” a jazz-rock instrumental in tricky shifting meters, and “Black Man,” an anti-racism history lesson in funk.
It also balances hurt and healing; its opening song, the beguiling “Love’s in Need of Love Today,” warns, “The force of evil plans to make you its possession” unless love can conquer hate. The album traverses styles; there are blues, soul, rock, funk, chamber pop, bossa nova, big-band salsa, jazzy ballads, even honky-tonk country (in “Ebony Eyes,” for which Mr. Wonder brought out what he called a “thumbtack piano,” an upright with thumbtacks in its hammers to make each note go plink).
What has held it together, then and now, is Mr. Wonder’s good intentions and boundless musicality. All over the album, he ingeniously meshes syncopated ascending and descending lines, as he did in the upbeat “Sir Duke,” the doleful “Pastime Paradise” and the kinetic “I Wish.”
Onstage, he let the best riffs stretch out, savoring the danceable constructions he had set in motion decades ago, as the audience members, many of whom were around for the original album release, stood and shimmied. Now and then, backup singers — including India.Arie, who came and went in multiple regal costumes — took over verses that Mr. Wonder had originally sung. But he was always there to chime back in on higher, more difficult variations.
Mr. Wonder was voluble between songs, joking about tabloid reports that he dismissed as rumors but also doing some preaching. He advocated more accessibility worldwide for the disabled, and he called for better gun control, pointing to a family in the audience that lost a daughter in the massacre at Sandy Hook Elementary School in Newtown, Conn. In what seemed like a scripted moment, he said: “I challenge America, I challenge the world, to let hatred go, to let racism go. To respect every single man as if they were your brother, every woman as if they were your sister, every single child as if they were your child.” He continued, “This is the only way we will win as a nation, as a world.”
For an encore, he played one song that wasn’t on “Songs in the Key of Life”: his hit “Superstition,” bolstered by the six-member horn section that was part of the band, which also included a string section and multiple percussionists, keyboardists and guitarists. It wasn’t too different from the rest of the concert: a great riff, a kinetic beat and a warning everyone could dance to, this one about dogma versus rationality. “Superstition ain’t the way!” the arena sang along.
The rest of the “Songs in the Key of Life” tour dates are:
11/9 – Verizon Center – Washington D.C.
11/11 – TD Garden – Boston, MA
11/14 – United Center – Chicago, IL
11/16 – Wells Fargo Center – Philadelphia, PA
11/20 – Palace Of Auburn Hills – Auburn Hills, MI
11/22 – Philips Arena – Atlanta, GA
11/25 – Air Canada Centre – Toronto, ON, CA
11/29 – MGM Grand Garden Arena – Las Vegas, NV
12/3 – KeyArena – Seattle, WA
12/5 – Oracle Arena – Oakland, CA
President Obama on Saturday will name Loretta Lynch, the U.S. attorney in Brooklyn, to replace Atty. Gen. Eric H. Holder Jr., according to a source familiar with the process. Lynch would be the first African-American woman to serve as the nation’s top law enforcement official. She would follow Holder, the first African-American attorney general. Holder has said he will stay on until his successor is confirmed.
Lynch, 55, is a longtime federal prosecutor who has the unusual distinction of serving in her current job twice: She was U.S. attorney for two years under President Clinton, and was disappointed that she was not reappointed by President George W. Bush. Obama reappointed her in 2010.
In contrast to other U.S. attorneys in New York, Lynch has shunned the limelight, rarely giving news conferences or interviews.
For that reason she is a relative unknown outside her district. But she came to prominence in New York in the late 1990s as the supervisor of the team that successfully prosecuted two police officers for the sexual assault with a broomstick of Haitian immigrant Abner Louima. Three other officers were acquitted.
Lynch grew up in Greensboro, N.C., the daughter of a Baptist minister and a school librarian. She graduated from Harvard College and Harvard Law School. Lynch has solid liberal credentials, having been associated with the Legal Aid Society in New York and the Brennan Center for Justice, named for former Supreme Court Justice William J. Brennan, Jr., a liberal lion.
But she has establishment credentials as well, including serving on the board of directors of the Federal Reserve Bank of New York.
Her low profile should make her potential confirmation easier than for some other candidates for the job, such as Labor Secretary Tom Perez, who drew repeated criticism from Republicans when he ran the Justice Department’s Civil Rights Division. article by Timothy M. Phelps and Michael A. Memoli via latimes.com
Pauline Malefane, foreground, of the Isango Ensemble in a reimagining of Mozart’s opera “The Magic Flute” at the New Victory Theater. (EMON HASSAN FOR THE NEW YORK TIMES)
Less glockenspiel, more drumming! A very different sort of “The Magic Flute” took the stage at the New Victory Theater on Sunday afternoon in front of an attentive and appreciative family audience. This two-hour adaptation of Mozart’s fairy tale opera was presented under the Xhosa title “Impempe Yomlingo” by the South African Isango Ensemble, a company that recruits performers from townships in the Cape Town area and presents classics from the Western canon in an updated, African context.
But perhaps “updated” isn’t quite the right word: In the program notes, the show’s director, Mark Dornford-May, relates a myth from the Tsonga tradition about the andlati birds that live high in the mountains and cause terrifying storms and lightning. Only a hero brave enough to seek them out with a magic flute can appease them and avert destruction.
“The story may never have reached Mozart, but the similarities are fascinating nonetheless,” Mr. Dornford-May writes. “Who knows? Maybe one of the greatest pieces of European opera had its roots and inspiration in a South African folk tale.”
Certainly, few productions can match the colorful exuberance and pulsating energy of this “Flute,” or field as versatile a cast as this, in which every member sings, dances and drums. The bare set evokes a township square. The traditional orchestra is replaced by eight marimbas, supplemented by an array of percussion, including djembes, oil barrels, hand clapping and — standing in for Papageno’s glockenspiel — suspended water bottles of graduated pitches. Tamino’s flute is a trumpet, played with jazzy vigor by Mandisi Dyantyis, the ensemble’s co-music director and conductor.
The vocal performances were a testament to South Africa’s deep pool of singing talent. The notes were all there — Pauline Malefane courageously scaled the heights of the Queen of the Night’s arias; Mhlekazi Mosiea was a dignified Tamino; Ayanda Eleki, a proud, patriarchal Sarastro — even if there were times when they audibly strained the limits of the singers’ technique. But the cast offered portrayals with ample personality and charisma, among them Zolina Ngejane’s superfeisty Pamina and Zamile Gantana’s bon-vivant Papageno.
But this African “Flute” is, above all, a story of community, and the music, too, is at its most convincing where it draws on South Africa’s glorious choral tradition. If that means taking liberties with Mozart’s score, fine: Tamino’s taming of Monostatos and his posse of slaves suffers no injury by the infusion of a bit of calypso rhythm. The celebrations that greet Sarastro’s first appearance — complete with ululating women — are a jubilant riot.
The communal aspect also raises the stakes for the lovers’ trials, which are presented as a series of tribal initiation rites, with Tamino’s face painted white, like that of a tribal youngster embarking on a circumcision ritual. In traditional productions, this is often the part of the opera where the tension slackens, but in this post-apartheid setting, the young people’s quest for dignity, wisdom and reconciliation is shown to be of vital importance to everyone.
“It’s Showtime!” Pharrell Williams continued his incredible run of musical accomplishments on Tuesday, by being named to the Apollo Theater’s Board of Directors. The multi-talented producer joins a list of 32 that includes New England Patriots owner Robert Kraft, Quincy Jones, John D. Dempsey of Estee Lauder, and many more.
Skateboard P made his debut on the famed stage on June 3, which was streamed live as part of a digital series, Unstaged. The project was directed by Spike Lee and sponsored by American Express, and seemed to open new doors for hollowed grounds. The global reach of Pharrell’s performance coincided with the technological upgrades that the venue is going through, as part of a $20 million dollar initiative for its 21st Century Apollo Campaign.
The singer/songwriter stated that he’s excited to preserve and expand upon the Apollo’s legacy in American culture. In other words, he’s “Happy.” article by @TheKidSkoob via theurbandaily.com
