The youngest Black female professor ever to be tenured at Oxford was born in Kenya

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The University of Oxford has made history by appointing Patricia Kingori to a full professorship, making the sociologist the youngest Black woman ever to receive tenure at Oxford or Cambridge.

By Ananya Bhattacharya

The University of Oxford has made history by appointing Patricia Kingori to a full professorship, making the sociologist the youngest Black woman ever to receive tenure at Oxford or Cambridge. Kingori, born in Kenya to a Kenyan father and Caribbean mother, spent her childhood in St Kitts, before the family moved to the UK during her early teens. Her sister, Vanessa Kingori, is the first female publisher in British Vogue’s 102-year history.

She studies the everyday ethical experiences of frontline workers in global health, and “was awarded this historic distinction in recognition of the quality and global impact of her research on academia and beyond,” the university said on Dec. 13. Kingori is in her early 40s.

From Kenya to Oxford, via St Kitts
During her eight years at Oxford, Kingori has consistently obtained large and competitive funding grants, written frequently cited and impactful publications, supervised numerous DPhil candidates, and taught hundreds of students, the university said.

However, Kingori’s road to professorship wasn’t without roadblocks. For instance, she was awarded a Wellcome Doctoral Studentship to fund her PhD with the London School of Hygiene and Tropical Medicine just a month after she gave birth to her first child. After a year’s maternity leave, she relocated to Kenya with family to do fieldwork. But her career nearly stalled when civil unrest forced her to leave in 2007. Pregnant with her second child at the time, she thought people would write her off at work.

But 10 months after she left Kenya, she was able to go back, armed with two new supervisors, to bring her data collection back on track.

After completing the PhD, she bagged the Wellcome Research Fellowship to do postdoctoral research at the University of Oxford’s Ethox Centre. Since then, her career at the British institution has taken off. Within a span of five years, she went from being a research lecturer to an associate professor.

Kingori beyond academia
In addition to garnering accolades in academia, Kingori has also served as an adviser to multiple organizations including the World Health Organization, Save the Children, Medecins San Frontières, the Nuffield Council of Bioethics, and the Obama administration’s White House Cancer Diagnosis and Treatment in Africa Initiative.

Currently, Kingori is the recipient of a Wellcome Senior Investigator award, leading an interdisciplinary team of researchers exploring global concerns around fakes, fabrications, and falsehoods in health. Outside of her research, Kingori also helms several diversity initiatives, including a visiting scholarship for Black academics to the University of Oxford, and an internships program for students of color.

Click here to read the full article on BBC News.

TRAVIS SCOTT DONATES $1 MILLION TO BLACK COLLEGE STUDENTS … To Ensure They Graduate

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Travis Scott Forbes Fortnite Concert

By TMZ

Travis Scott is making sure hundreds of Black college students walk across the commencement stage with their diploma … with a seven-figure donation.

The rapper awarded $1 million in scholarships to 100 students at HBCUs who are on track to graduate in the Class of 2022 … ensuring they cross the finish line and aren’t affected by last-minute financial hurdles.

The soon-to-be grads are each getting a $10,000 scholarship from Travis’ previously-established Waymon Webster Scholarship Fund … and the recipients finished their final semester with at least a 3.5 GPA.

Among the scholars … Florida A&M University pharmacy major Nisha Encarnacion, who is from the U.S. Virgin Islands and paid her own way through college while supporting her mother and daughter, Fisk University computer science major Chisom Okwor, whose goal is to help transform developing countries in Africa, and North Carolina Central University broadcast journalism major Jordan Massey, who took on a ton of debt to get his communications degree.

Travis’ sister, Jordan Webster, manages the scholarship fund … and she recently graduated as well, with a degree from Howard University.

Travis’ donations went to seniors at 38 HBCUs … including Alabama A&M University, Central State University, Jackson State University, Morehouse College, Texas Southern University, Grambling State University, Xavier University of Louisiana, and Prairie View A&M University.

The $1 million worth of scholarships is part of Travis’ Project HEAL, which as we first reported, was announced back in March and included $5 million in earmarks.

Remember … Project HEAL was one of Travis’ first public philanthropic since the tragic Astroworld concert last November, which saw 10 people die as a result of injuries sustained during Travis’ set.

Click here to read the full article on TMZ.

Dr. Dre helps break ground on new Compton High School performing arts center

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Dr. Dre

By ABC 7

A performing arts center at Compton High School that’s being built with the help of music mogul Dr. Dre is one step closer to becoming a reality.

The Compton native – who donated $10 million to the project – joined city and school leaders for a groundbreaking ceremony to celebrate the first step in getting the center up and running.

The facility will include a 1,200-seat theater and will be a place for young people to be creative in a way that will help further their education and positively define their future.

“When I was approached about funding a performing arts center that would provide an arts and technological education to students and be accessible for the community at large, I was all in,” said Dr. Dre. “I wanted to give the young people of Compton something I never had.”

Dr. Dre – born Andre Young – grew up in Compton and first rose to fame as a member of NWA, whose debut album was titled “Straight Outta Compton.”

He later found success as a solo artist, producer and businessman.

The performing arts center will be the first new high school facility to be built in almost a decade in the greater Los Angeles area.

Compton High School is more than 100 years old.

“This is very historical for Compton,” said Compton Unified School District Board President Micah Ali.

Click here to read the full article on ABC 7.

Kevin Hart Signs $100 Million Investment Agreement To Create HARTBEAT, Which Will Be Led By An All Black Leadership Team

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HARTBEAT Team L to R: CCO Bryan Smiley, Chairman Kevin Hart, CEO Thai Randolph, and CDO Jeff Clanagan

By Corein Carter, Forbes

Kevin Hart, trailblazing entrepreneur, executive, and entertainer, has now combined Laugh Out Loud and HartBeat Productions to create one of the leading sources of comedic storytelling and experiences with HARTBEAT, after more than a decade of leveraging his individual success to build the two high-growth companies.

With the mission of keeping the world laughing together, the multi-platform company creates entertainment at the intersection of comedy and culture. Hartbeat Productions’ best-in-class television and film production capabilities are combined with Laugh Out Loud’s extensive distribution network, as well as marketing, sales, experiential, branded content, digital, and social capabilities.

HARTBEAT was established with a $100 million investment from Abry Partners, a private equity firm that took a minority stake in the new company. Evolution Media Capital and a team from Manatt, Phelps & Phillips, LLP led by Sophia Yen, a partner in the Entertainment Group, advised HARTBEAT on the deal.

The creation of HARTBEAT and the capital raised with Abry Partners mark the beginning of a new era in comedy. Hart is proud of what has been delivered. As part of the agreement, Nicolas Massard, a partner at Abry Partners, will join the HARTBEAT board as part of the agreement. Peacock, NBCUniversal’s streaming service, will remain a shareholder in Laugh Out Loud after signing a multi-year, first look deal and taking an equity stake in the network in 2020.

Hart discusses his commitment to building the most innovative and inclusive comedy storytelling company. “In an industry where people love to say no and shut doors, I’ve been confident in forging our own path and using our success to open doors for others. We’re taking the new entertainment blueprint we’ve built to the next level with this merger and funding, paving the way for a new generation of comedic talent. I can’t wait to bring more comedians, experiences, and heartfelt stories to the world.”

HARTBEAT intends to use the funds to expand its team, accelerate growth for existing brands and franchises, and develop a new IP that will appeal to a global audience. This will be accomplished by collaborating with today’s most influential stars and rising comedic talent, both in front of and behind the camera, using HARTBEAT’s creative engine, relationships, and resources.

The existing leadership from Hartbeat Productions and Laugh Out Loud will continue to oversee day-to-day operations. Thai Randolph, who previously served as President & COO of Laugh Out Loud and COO of Hartbeat Productions, has been appointed CEO of the new entity. Hart will serve as Chairman in the interim. Bryan Smiley of Hartbeat Productions will become President & Chief Content Officer, and Jeff Clanagan of LOL will become President & Chief Distribution Officer. Leland Wigington, co-founder of HartBeat Productions, will lead a new production banner under HARTBEAT.

Randolph spoke with For(bes) The Culture about the emergence of HARTBEAT.

“Commercially, it’s a milestone moment. In terms of the company’s capitalization and valuation, as well as the possibility of expanding the team to create more content. We are breathing rare air when it comes to scaling companies of this size, especially when it comes to having a company that is minority owned and run by people of color.” Randolph continues, “We don’t consider diversity to be an initiative because, the composition is more than half women and half people of color. We are diverse by design because it’s just good business. With the mission of keeping the world laughing together, we have a team that looks like the world around us, so we can program relevantly to those audiences.”

The LOL! Network was named one of the top 10 media publishers in an April 2021 Conviva report that ranked the size of social media audiences across Instagram, Facebook, Twitter, TikTok, and YouTube. It came in ahead of major players like Hulu. The merger and capital raise will allow HARTBEAT to expand and invest in the future of comedic entertainment, producing more in-demand content and experiences where comedy meets culture.

HARTBEAT is a full-service entertainment company that develops, markets, and distributes the most culturally relevant IP and experiences in comedy and beyond. The company is divided into three divisions:

● HARTBEAT Studios led by Bryan Smiley finances, develops, and produces comedy and culture-related film, television, and content.

● HARTBEAT Media, under the leadership of Jeff Clanagan, connects with consumers all over the world through events, gaming, music publishing, Web3 initiatives, and a vast distribution network.

● PULSE, the company’s branded entertainment studio, works with companies like P&G, Lyft, Sam’s Club, Chase, and Verizon to provide creative and cultural consulting.

Operating under HARTBEAT Media, the LOL! Network will continue to be the company’s flagship consumer brand, reaching audiences across its O&O social media, audio (SiriusXM) and OTT partners (Peacock, Roku, Tubi, PlutoTV, Vizio, Redbox, Xumo, and more).

With projects featuring Tiffany Haddish, Hasan Minhaj, Amanda Seales, Deon Cole, and Affion Crockett, HARTBEAT creates hit vehicles for A-list comedians and brings the next generation of comedic voices into the mainstream.

HARTBEAT is currently working on more than 60 projects with 15+ entertainment partners, all of which are in various stages of development. The company also has several multi-year strategic partnerships, including the unscripted first look deal with NBCU’s Peacock, a film deal with Netflix, a partnership with SiriusXM, and a deal with Audible via the joint venture SBH Productions with Charlamagne Tha God.

Among the upcoming projects include: Me Time (Netflix) with Mark Wahlberg and Regina Hall, “Storytown” (HBO Max), the F. Gary Gray action heist Lift (Netflix), #1 on the Call Sheet documentary (Apple TV+), “Die Hart” season 2 (Roku), “So Dumb It’s Criminal” with Snoop Dogg (Peacock), and a new season of the Hart-led sports talk show “Cold as Balls” (LOL Network).

Click here to read the full article on Forbes.

Nike releases ‘Mambacita Sweet 16’ shoe to honor Gianna Bryant on her birthday

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Nike has released a special edition pair of sneakers to honor Gianna Bryant's legacy.

By Zoe Sottile, CNN

Nike has released a special pair of “Mambacita Sweet 16” shoes to honor Gianna “Gigi” Bryant on what would have been her 16th birthday.

“I’m so happy with the way these Mambacita shoes came out in honor of my daughter, Gigi,” wrote Vanessa Bryant on Instagram. The shoes feature a black snakeskin pattern to represent “Gigi’s Mambacita Mentality.”
“The ‘Mambacita Sweet 16’ is inspired by her resilient spirit and the love she had, not only for the game, but for her family, friends and community,” said Bryant in a note posted to her Instagram. “Part of her legacy is about building a better future for all girls and women in sport, one step at a time.”

Gianna and her father, basketball legend Kobe Bryant, were killed in a helicopter crash in January 2020. Like her father, Gianna was also a talented basketball player and aspired to play in the WNBA. Earlier this year, Bryant announced that she had reached a deal with Nike to create apparel to honor the late basketball player, nicknamed the “Black Mamba.”

“The Kobe 6 Protro ‘Mambacita Sweet 16’ honors the legacy that Kobe and Gianna ‘Gigi’ Bryant built,” wrote Nike in a statement announcing the release. “One that propelled all generations to continue their quest to be better, for themselves and for the game that unites us all.”
Proceeds from the shoes will go towards the Mamba & Mambacita Sports Foundation, a nonprofit organization dedicated to honoring Kobe’s and Gianna’s legacies by supporting underserved athletes, according to Nike.

Click here to read the full article on CNN.

How Black Men Changed the World

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Two black men, one father and one son.

By THE SMITHSONIAN

Too often Black men are seen as threatening. Over the generations, whether they are boys like Emmett Till, Tamir Rice or Trayvon Martin, or adults like Philando Castille, Eric Garner or George Floyd, or the thousands of victims of lynching in the 19th and 20th centuries, their deaths were made to seem justified by a fear based solely on their race. Only on rare occasions is someone held accountable. It’s even evident with the recent murder of Ahmaud Arbery, killed by three men while he was out for a run, that the “lynching” of Black men is still happening today.

The Smithsonian traveling exhibition, “Men of Change: Power, Triumph, Truth,” now on view at the Reginald F. Lewis Museum of Maryland African American History & Culture, delivers a world of ideas about who Black men actually are and works to dismantle myths. The show supports the diversity of Black male identities in their capacity as role models, and amplifies the many positive ways their work and endeavors impact the Black community and the world.

Unfortunate, as it is, that there is a need for such an exhibition, Marquette Folley, who is content director for the Smithsonian Institution Traveling Exhibition Service, hopes the show is not only affirming for Black men, but that the messaging is potent enough to shift the cultural experience for all visitors. “Hard dialogues are occurring in the galleries,” she says.

Kendrick Lamar by Derrick Adams
Figure in the Urban Landscape #25 (portrait of Kendrick Lamar) by Derrick Adams, 2018 Courtesy of the Artist
Muhammad Ali by David Alekhuogie
Know Your Right [Muhammad Ali] by David Alekhuogie, 2018 Courtesy of the Artist

Powerful personalities like Kendrick Lamar, Muhammad Ali and James Baldwin are featured because their work in music, sports and literature, appeals to a larger audience and is very much concerned with how their struggles and undertakings impact freedom and rights for all Americans, but especially African Americans.

“We’re reckoning, looking at a broad landscape of what is human, which humans are worth looking at, and noting excellence without stereotyping what that excellence looks like,” Folley says.

While there are countless Black men in our world impacting many sectors and industries, the men were especially chosen, not solely because of their achievements, but because they made conscious decisions to help the world and uplift us all, and there is no one right way to do that.

The larger society from diverse backgrounds can also witness the variety of Black male identities possible. As our country becomes more diverse every day, the stories that we tell ourselves about strangers we live with have an impact on the collective. An exhibition such as this one is a chance for people unfamiliar with the history of the United States to educate themselves and their families about pivotal members of our society—Black men.

“It’s an affirmation of truth for African Americans. There is not one African American who doesn’t recognize a reality that was interesting and remains interesting within the exhibition, it is that those truths remain almost fairy tale to people who are not raised Black in America. And so there was the moment for culture’s storytellers to ask, can we effectively start changing the dialog,” Folley says.

Dick Gregory by Shaunte Gates
Light Side Dark Side [Dick Gregory] by Shaunte Gates, 2018 Courtesy of the Artist

Though this exhibition features just a few of the countless people who have impacted the world, the lightbox displays interspersed throughout the galleries includes the names, images, quotes and writing of Black men and some women.

“It’s not a story necessarily for African Americans. It’s a story for Americans,” Folley says.

Sarah Nelson Jackson and Jonathan Jackson, the founders of WeShouldDoItAll, a contemporary design studio in Brooklyn, New York, were enlisted to aid with the exhibition. In addition to the lightboxes that house photographic images and text, they suggested that the exhibition include artworks by Black visual artists in dialogue with the Black male personalities featured in the exhibition.

Each artist interpreted the assignment of creating an artwork about Black men differently. The artwork about the award-winning journalist and author, Ta-Nahesi Coates, was created by the New York-based artist Robert Pruitt, known for his figurative drawings. The image of a woman with a map depicting redlining on her head is based on the critically acclaimed article, “The Case for Reparations” that Coates wrote for The Atlantic in 2014.

Ta-Nehisi Coats by Robert Pruitt
Monumental [Ta-Nehisi Coates] by Robert Pruitt, 2018 Courtesy of the Artist and Koplin Del Rio, Seattle, Adam Reich Photography

These are not traditional portraits. An artwork about the Pulitzer-prize winning playwright August Wilson by Radcliffe Bailey is an assemblage of disparate items of locusts, dirt and a book.

Ryan Coogler is a global phenomenon. The writer and director of the film Black Panther created another world, one where for the first time, Black people were central to its narrative. His portrait created by the Atlanta-based artist Alfred Conteh is painted with the artist’s signature style of destressed colorful figures against a patterned backdrop. In this instance, Conteh is not painting Black people he identified on Atlanta streets to represent economic disparity, he’s painting one of the most influential filmmakers of today.

Kehinde Wiley, the artist who did Barack Obama’s official presidential portrait, uses visual art to explode representation of the Black image into largely white spaces. Wiley has been painting portraits of everyday Black men and women from cities around the world including, Harlem, South Central LA, Mumbai, Senegal, Dakar and Rio de Janeiro, and positions their bodies in a manner similar to that of the Old Masters. In this way, he makes the claim on the worth and importance of the Black body.

Now Wiley is himself the subject of a portrait painted by Devan Shimoyama whose signature style of bright colors, bejeweled with rhinestones and sequins and other mixed media, speaks to queerness in the Black community and challenges the myths surrounding Black masculinity.

Andrew Young, who worked alongside Martin Luther King, Jr., was a leader in the Civil Rights Movement, U.S. Congressman from Georgia, U.S. Ambassador at the United Nations, and 55th Mayor of Atlanta. His portrait, angular with a cartoonish feel, was created by Nina Chanel Abney as if in juxtaposition of the gravity and seriousness of Young’s accomplishments. But she is employing symbols to represent the many aspects of Young’s efforts.

Click here to read the full article on The Smithsonian.

The CROWN Act highlights years of workplace hair discrimination finally being legally reprehensible

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Linda Husser modeling Zoom meeting crown (hair)

By Amiah Taylor, Fortune

The House of Representatives passed legislation on Friday, March 18, in a vote of 235-189, that would ban hair-related discrimination.

The CROWN (Creating a Respectful and Open World for Natural Hair) Act, first introduced to Congress in March 2019, prohibits prejudicial treatment towards individuals on the basis of their hair texture or hairstyle. This is the first step on a federal level needed to officially get the bill signed into law. The bill now goes to the Senate.

“Routinely, people of African descent are deprived of educational and employment opportunities because they are adorned with natural or protective hairstyles in which hair is tightly coiled or tightly curled, or worn in locs, cornrows, twists, braids, Bantu knots, or Afros,” according to the bill.

Personal style and grooming choices do have negative educational and employment consequences for Black people in ways that are not consistent for white individuals. For example, in clinical settings, Black nurses have been told to cut their hair for the sake of ‘infection control’ whereas their white peers are merely told to tie their hair up. “Black nurses worldwide have experienced ‘racial gaslighting’ through the profiling and policing of their hair, to the point of being driven out of nursing,” according to the Journal of Nursing Management.

Black nurses are not the only professionals who have been threatened with dismissal over “looking unprofessional,” when they show up to work with their hair in its natural state. In 2016, a Black woman was allegedly fired from her position as a waitress for wearing her natural hair in a bun. In 2019, a Black news anchor was fired over wearing a natural style, because of a company policy which stated on-air talent could not have “shaggy and unkempt,” hair. In 2021, a Black woman who stopped wearing wigs over her afro-textured hair was fired promptly from her sales position at American Screening.

Studies show that Black women with “Afrocentric hairstyles” are viewed as less professional than their counterparts who wear Eurocentric hairstyles, that are rooted in European standards of beauty which often emphasize straight hair. Whether it’s corporate America or the service industry, Black people have historically been expected to change their appearances to fit into the aesthetic norms of white professional settings. Echoing this sentiment, in a Feb. 28 statement in support of the CROWN Act, House Judiciary Committee Chairman Jerrold Nadler cited a 2019 study conducted by the JOY Collective in which 80% of Black women said they believed they had to alter their natural hair to gain acceptance in the office.

“While this study illustrates the prevalence of hair discrimination, it is the people behind those numbers that make this legislation so vital,” Nadler said. “For example, a Texas student was told that he would not be allowed to walk at graduation because his dreadlocks were too long; a Florida boy was turned away from his first day of school because his hair was too long; and a New Orleans-area girl was sent home from school for wearing braids.”

Nadler’s point about how hair racism affects school aged children is apparent in the petition of Latrenda Rush, which has gained over 89,000 signatures as of Mar. 21.

Rush was preparing for her son Joshua’s graduation from Abeka Academy, a Florida-based Christian school, when she was informed that he would be barred from walking during the graduation ceremony because of his hair. Abeka Academy’s grooming policy required male students not to have hair that exceeded their ears and specifically banned Black hairstyles such as braids and dreadlocks.

Abeka Academy has since apologized on Facebook, stating regret over their “insensitive rule,” and removing their ban on dreadlocks. However, the fact remains that without Rush’s vigilance, and the social pressure of a public outcry, Joshua and other Black students like him may have been excluded from walking during their graduation ceremony because of implicit bias against their racial hairstyles.

If passed in the Senate, the CROWN Act could potentially rectify the ongoing discrimination Black people face for wearing their hair in natural styles, by adding legal consequences for schools and employers alike. The social media response was that inclusive work and academic environments that do not chastise people of color for their natural hair are long overdue.

Click here to read the full article on Fortune.

Scholarship Connoisseur Encourages Students to Apply for STEM Scholarships and Internship Opportunities Now

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black female student sideways view smiling carrying books wearing backpack

IOScholarships is the first of its kind scholarship and financial education platform for minority and underrepresented STEM students. The technology has been designed with a streamlined user-friendly interface that offers great functionality to help high school, undergraduate and graduate students find scholarships and internship opportunities.  IOScholarships proprietary matching algorithm can match students with life-changing scholarships where their diverse background is valued.

“Now is the time for students to apply for college scholarships,” said María Fernanda Trochimezuk, Founder of  IOScholarships. “While there are many scholarships that have qualifications like a minimum 3.5 GPA, there are just as many that have lower GPA requirements or don’t even take GPA into consideration at all.”

GPA is an important factor for getting scholarships but is not the only thing that’s important. Schools are looking for dedicated students, who contribute to their community or are involved in STEM organizations or activities. They want to see leadership and perseverance, and while these can sort of be reflected in a GPA, they mostly shine through in extracurriculars.

The majority of the scholarships featured on  IOScholarships come directly from corporations and organizations, rather than solely from competitive university pools – thereby maximizing the number of opportunities students have to earn funding for their education. There’s plenty of money that goes unused every year, students just have to search for it.

Each month IO Scholarships adds hundreds of new curated scholarships to its database and posts “The Scholarship of the Week” on its Instagram social media accounts(@IOScholarships), making it easy to find new scholarship opportunities.

In addition to providing scholarships, the  IOScholarships platform features a scholarship organizer, news articles designed to provide guidance on how to apply for scholarships, and money saving tips. The platform also offers a Career Aptitude Quiz designed to help students identify the degrees and professions that best fit their skills.

For more information about  IOScholarships visit www.ioscholarships.com or for weekly STEM scholarships email maria.fernanda@ioscholarships.com.

16 Black women who shaped history

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black women have changed history. Photo is of Maya Angelou

One of the best ways to get inspired is to examine the stories of courage and strength of others. As part of Together, We Rise, a 31-day package highlighting amazing Black people, experiences, allies, and communities that shape America and make it what it is today, we’ve compiled a list of Black women who have made historic impacts in our nation and the world as a whole.

The history-making Black women included in this group defied odds, broke boundaries, and left special marks of excellence in their communities, paving the way for other Black women to do the same.

Elizabeth Freeman (unknown-1829)
Freeman, also known as Mum Bett, was a nurse and midwife who successfully sued Massachusetts for her freedom in 1781, becoming the first African-American enslaved woman to win a freedom suit in the state. Her suit helped lead to the permanent abolition of slavery in Massachusetts altogether.

Ona Judge (1773-1848)
Ona Judge, known by the Washingtons as Oney, was a mixed woman born into an enslaved family on Mt. Vernon and brought to Philadelphia to serve at the President’s House. On May 21, 1796, a 22-year-old Ona successfully escaped her enslavement to President George Washington while he and Mrs. Washington ate dinner. She fled to New Hampshire.

Harriet Tubman (unknown-1913)
American abolitionist Harriet Tubman is most known for her efforts to move slaves to liberation in the Underground Railroad, a network of antislavery activists. Her legacy is indelible in the movement to abolish slavery, as she is documented to have made approximately 13 trips through the Underground Railroad to lead dozens of slaves to freedom — and never got caught, despite a $40,000 reward for her capture.

Ida B. Wells (1862-1931)

Ida B. Wells was a prominent Black investigative journalist, educator and activist in the early civil rights movement. She was one of the founders of the NAACP (National Assocation for the Advancement of Colored People), and led a powerful anti-lynching crusade in the U.S. in the 1890s.

Rosa Parks (1913-2005)
Rosa Parks, a trailblazer known for her courageous participation in the Montgomery bus boycott, sparked a movement against racial segregation on public transit. Her defiance to give up her seat led to her arrest on Dec. 1, 1955, but sparked a revolutionary movement. The United States Congress has since honored her as “the first lady of civil rights” and “the mother of the freedom movement.”

Maya Angelou (1928-2014)
Maya Angelou has a distinct voice as a Black writer and activist. She left her legacy with a large collection of memoirs, poems, essays and plays. She rose to fame in 1969 after the publication of “I Know Why the Caged Bird Sings,” one of her autobiographies that details her early years as a young Black woman.

Nina Simone (1933-2003)
Nina Simone possessed a unique raspy voice and had a massive impact on the jazz community, as well as continued involvement in the civil rights movement. In her early years, she changed her name from Eunice Kathleen Waymon, her birth name, to her new alias, Nina Simone, so she could disguise herself from her family while trying to make a career in jazz as a pianist and singer. She rose to fame and recorded more than 40 albums between 1958 and 1974.

Audre Lorde (1934-1992)
Audre Lorde made incredible contributions to feminist literature. In her writings, she highlights her experience being a Black lesbian woman and confronts issues of racism, homophobia, classism and misogyny, giving voice to other Black female writers and activists.

Aretha Franklin (1942-2018)
“Queen of Soul” Aretha Franklin was ranked ninth in Rolling Stone’s “100 Greatest Artists of All Time” twice and it’s said that no one understood soul music better than Aretha. She also was the first female artist to be inducted into the Rock and Roll Hall of Fame.

Marsha P. Johnson (1945-1992)
Marsha P. Johnson, born Malcom Michaels Jr., was the first American self-identified drag queen. She was one of the first gay liberation activists and one of the most prominent figures of the Stonewall riots in 1969. When asked what the “p” in her name stood for, she responded, “pay it no mind,” and continued to use that phrase when asked about her gender identity.

Click here to read the full article on Today.

These Afro-Latina Beauty Influencers Know How to Celebrate the Wonders of Black Beauty

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Black Beauty Influencer smiling at the camera ina. yellow tank top and light blue jeans. Behind her is a calendar on the wall and some post its

By ASHLEY JIMENEZ, PopSugar

Afro-Latinas are very much a part of the Black diaspora, yet there’s still a major lack of representation. Growing up, I rarely saw Afro-Latinas in television series, movies, books, or advertising campaigns. Although I recall seeing Afro-Cuban singers like Celia Cruz and La Lupe in music, there was still a massive part of the media counting us out. Pop culture consciously spoke to Latinas who saw themselves reflected in celebrities like Jennifer Lopez, Shakira, and Mariah Carey. Although these A-listers are glamorous, respectfully, they do not represent the diversity of Black beauty within our community. They cater to Euro-centric beauty standards such as fair skin, light eyes, and straight hair.

Hence Afro-Latinos within the Dominican Republic, Cuba, Honduras, Panama, and Colombia, to name a few, are curating their own spaces. And this is especially true of the hair, makeup, and skin-care industries, where influencers and entrepreneurs are forging a representation path for those who identify with these experiences. Here, we collected the perspectives of Afro-Latinas who turn to Black women for inspiration and are honoring the African diaspora and embracing their Black beauty through their brands and the content they share on social media. Because, as Lulu Cordero points outs, “Our hair, skin, hips, etc., are a part of Black beauty.”

Alexa Dolmo
When Alexa Dolma came to Houston from Honduras, she did not see any representation of herself among the masses. The influencer identifies as Garifuna, a mix of African and Indigenous ancestry, mainly from the Caribbean coast of Honduras, Guatemala, Nicaragua, and Belize. Over the years, Dolma tells POPSUGAR, she’s grown to be more vocal and confident about celebrating her Afro-Latina roots on her page and Garifuna Bosses, the platform she created to represent and highlight other Garifuna women. Dolma has featured Black women like Kalifa Marin and Eunice Suazo, the founders of Tru3 B3llas, a hair-care brand that offers detangler brushes, edge controls, and bonnets. “I felt the need to do this because, as a blogger, I always came across pages that highlighted other bloggers, and I never saw one who did the same thing for my people,” she explains.

As a proud Black Latina, Dolma says she saw herself in the rom-com “Nappily Ever After” featuring Sanaa Lathan. Based on Trisha R. Thomas’s novel of the same name, the film illustrates the relationship between Black women and beauty standards imposed on them by society. “This movie shows that our hair is beautiful whether bald or full of coils,” the beauty influencer says.

Lulu Cordero
Lulu Cordero, the CEO of Bomba Curls, wasn’t always proud of her natural hair. Like many, growing up she heard the word pajón when people referenced her hair, but when she stepped into womanhood, Cordero decided to let go of the relaxer and embrace her natural texture. Being an Afro-Latina from the Dominican Republic, she always knew the beauty benefits of natural ingredients, and that’s how she decided to formulate her line of curly-hair products featuring fundamental formulas such as cafecito, rosemary, and more.

“Our hair, skin, hips, etc., are a part of Black beauty. These are all gifts from our ancestors, and by celebrating said gifts, I honor them,” says Cordero, who remembers watching Dorothy Dandridge in “Carmen Jones” as a pivotal moment in celebrating Black beauty and representation. The 1950s American musical features an all-Black cast and tells the story of a parachute-factory worker and an Army corporal. “I’d never seen anything like it before. Before that, I’d only seen Latino media, which has a history of erasing us.” Seeing the iconic Black actor sport a sultry red lip and epitomize retro glam gave the beauty entrepreneur hope.

Sherly Tavarez
Like many Afro-Latinx women, Sherly Tavarez grew up hearing the phrase pelo malo, which means “bad hair.” After years of chemically treating her gorgeous curls, the fashion stylist decided to design apparel to debunk the notion of “bad hair” once and for all. The Dominican blogger created Hause of Curls and is now known for her shirts and accessories that read “Pelo Malo Where?” and her feed that features diverse women within the natural hair community.

“My first time appreciating the beauty of my Afro-Latinidad was when I watched the Netflix series ‘Celia,'” Tavarez says. “It taught me about my background, roots, what it was like to be an Afro-Latina back in the day, and how much we have had to fight to be seen.” She adds: “Back when I was straightening my hair all of the time and honestly being a slave to my hair, I didn’t feel like my true self. I felt like I was celebrating a version of myself that other people told me to be. I didn’t even know what my natural hair looked like until I stopped applying heat and relaxing my hair. Now I celebrate by sharing my journey to natural hair with others and by building this community we have at Hause of Curls.”

Click here to read the full article on PopSugar.

Here’s the story behind Black History Month — and why it’s celebrated in February

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By , NPR

Every February, the U.S. honors the contributions and sacrifices of African Americans who have helped shape the nation. Black History Month celebrates the rich cultural heritage, triumphs and adversities that are an indelible part of our country’s history.

This year’s theme, Black Health and Wellness, pays homage to medical scholars and health care providers. The theme is especially timely as we enter the third year of the COVID-19 pandemic, which has disproportionately affected minority communities and placed unique burdens on Black health care professionals.

“There is no American history without African American history,” said Sara Clarke Kaplan, executive director of the Antiracist Research & Policy Center at American University in Washington, D.C. The Black experience, she said, is embedded in “everything we think of as ‘American history.’ ”

First, there was Negro History Week
Critics have long argued that Black history should be taught and celebrated year-round, not just during one month each year.

It was Carter G. Woodson, the “father of Black history,” who first set out in 1926 to designate a time to promote and educate people about Black history and culture, according to W. Marvin Dulaney. He is a historian and the president of the Association for the Study of African American Life and History (ASALH).

Woodson envisioned a weeklong celebration to encourage the coordinated teaching of Black history in public schools. He designated the second week of February as Negro History Week and galvanized fellow historians through the Association for the Study of Negro Life and History, which he founded in 1915. (ASNLH later became ASALH.)

The idea wasn’t to place limitations but really to focus and broaden the nation’s consciousness.

“Woodson’s goal from the very beginning was to make the celebration of Black history in the field of history a ‘serious area of study,’ ” said Albert Broussard, a professor of Afro-American history at Texas A&M University.

The idea eventually grew in acceptance, and by the late 1960s, Negro History Week had evolved into what is now known as Black History Month. Protests around racial injustice, inequality and anti-imperialism that were occurring in many parts of the U.S. were pivotal to the change.

Colleges and universities also began to hold commemorations, with Kent State University being one of the first, according to Kaplan.

Fifty years after the first celebrations, President Gerald R. Ford officially recognized Black History Month during the country’s 1976 bicentennial. Ford called upon Americans to “seize the opportunity to honor the too-often neglected accomplishments of Black Americans in every area of endeavor throughout our history,” History.com reports.

Why February was chosen as Black History Month
February was chosen primarily because the second week of the month coincides with the birthdays of both Abraham Lincoln and Frederick Douglass. Lincoln was influential in the emancipation of slaves, and Douglass, a former slave, was a prominent leader in the abolitionist movement, which fought to end slavery.

Lincoln and Douglass were each born in the second week of February, so it was traditionally a time when African Americans would hold celebrations in honor of emancipation, Kaplan said. (Douglass’ exact date of birth wasn’t recorded, but he came to celebrate it on Feb. 14.)

Thus, Woodson created Negro History Week around the two birthdays as a way of “commemorating the black past,” according to ASALH.

Forty years after Ford formally recognized Black History Month, it was Barack Obama, the nation’s first Black president, who delivered a message of his own from the White House, a place built by slaves.

“Black History Month shouldn’t be treated as though it is somehow separate from our collective American history or somehow just boiled down to a compilation of greatest hits from the March on Washington or from some of our sports heroes,” Obama said.

“It’s about the lived, shared experience of all African Americans, high and low, famous and obscure, and how those experiences have shaped and challenged and ultimately strengthened America,” he continued.

(Canada also commemorates Black History Month in February, while the U.K. and Ireland celebrate it in October.)

There’s a new theme every year
ASALH designates a new theme for Black History Month each year, in keeping with the practice Woodson established for Negro History Week.

This year’s Black Health and Wellness theme is particularly appropriate, Dulaney said, as the U.S. continues to fight the coronavirus pandemic.

“As [Black people], we have terrible health outcomes, and even the coronavirus has been affecting us disproportionately in terms of those of us who are catching it,” Dulaney said.

Click here to read the full article on NPR.

Because of Black women, the period drama ‘The Gilded Age’ has a Black story line done right

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scene from "the gildead age"

By Helena Andrews-Dyer, The Washington Post

Fans of high-society high jinks will instantly recognize the dazzling and dizzying characters of “The Gilded Age,” the long-gestating period drama from “Downton Abbey” creator Julian Fellowes that premiered Monday on HBO. But there is one conspicuous exception.

Among the blindingly White milieu of social-climbing “wives of,” acid-tongued grand dames, bored heiresses, buzzing staff and one wide-eyed country cousin is Peggy Scott, an ambitious young Black woman who shines instead of shrinks.

In the first episode, Scott, played by actress Denée Benton, arrives to newly gold-plated Manhattan via train with the show’s fish-out-of-water character Marian Brook (Louisa Jacobson). On-screen, Peggy’s journey is rather quick. Off-screen, it took 10 years, two networks, at least four Black women and exactly one global pandemic for her to get here.

It started with Fellowes, who, while doing research for “Downton,” took an intellectual detour into new moneyed New York and become fascinated with the robber barons of the era. They redefined what it meant to be rich, laying the Italian-marbled foundation for economic inequity as they built their grand palaces across from Central Park.

“How Peggy came around is that the more I researched this period of American history, the more it seemed to me that the whole Black community, they were so substantial a part of the American people at that time,” Fellowes said in an interview before asking his co-writer Sonja Warfield for an assist. “Sonja, what was the name of that period? The rebuilding?”

“The Reconstruction,” answered Warfield, who doubled the number of heads in the “Gilded Age” writer’s room from one to two when she joined Fellowes, famous for writing his expanding canon of British period dramas — including all six seasons of “Downton” — entirely on his own.

“I felt we very much needed a Black story line and principal character,” he said. “The revelation that there was this functioning prosperous Black bourgeois in New York in the second half of the 19th century was kind of new to me. And I was so interested to learn it, then I just felt that other people might be interested, too. It was really as simple as that.”

But is wasn’t quite as simple as that.

Benton, who plays Peggy, said the self-possessed young woman viewers meet in the show’s premiere is not the same woman she met on the page in 2019. That beta version was flatter, lacking a world of her own outside of the venerable van Rhijn household, where she works as a secretary.

Peggy’s broad strokes were a start, said Benton, a stage actress who was nominated for a Tony Award in 2017 for her starring role in “Natasha, Pierre & the Great Comet of 1812” and played Eliza Hamilton in “Hamilton” on Broadway. The actress knows her 19th-century female characters and saw a clear opportunity for Peggy to stretch — to give her an interior life, her own agency, her own world.

To do that, the character was afforded “little moments of dignity,” Benton said. Peggy doesn’t solely exist in the all-White world of the Gilded Age; she has her own purpose, her own family drama and a secret the audience won’t learn until several episodes in. Later in the series, viewers will see her in a world that is entirely Black and unconcerned with whatever drama is going on in the burgeoning Upper East Side. Peggy’s story also has modern-day relatability: the tension of respectability politics in the Black community, code-switching between racial worlds and the stress of being “the only one” in any given room.

And should viewers get their Googling fingers in a knot looking up the probability of Peggy’s existence, historian Erica Dunbar, who played such an integral role in the production she was eventually promoted to co-executive producer, said you simply can’t do a show about New York without Black people.

“This is about world-making,” Dunbar said. “This is about bringing characters who’ve been relegated to the margins into the center.”

It’s also about correcting the record. Too often, Black American cinematic history focuses on slavery, the Civil War, the Harlem Renaissance and the Civil Rights era. “There is a 40- to 50-year gap that hasn’t been explored in ways that are nuanced and show Black life in the North,” Dunbar explained.

Added Benton, “This is the Peggy that’s doing the ancestors proud.”

Click here to read the full article on The Washington Post.

How Jennifer Hudson and ‘Respect’ Could Set a Record for Black Women at the Oscars

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Jennifer Hudson in the movie 'Respect'

By Clayton Davis, Variety

Jennifer Hudson’s name is already written in the Academy Awards history books. At 25, she became the youngest Black woman to ever win an acting Oscar for her turn as Effie White in “Dreamgirls” (2006). She’s also the first to do it for a debut role. Her work in the Aretha Franklin biopic “Respect” has her contending for two possible Oscar nominations: lead actress and original song, for the track “Here I Am (Singing My Way Home),” co-written by Carole King and Jamie Alexander Hartman. Already a Tony Award away from EGOT status, she could break another record if she lands those two coveted noms.

Hudson would be the first Black woman to be nominated in three individual categories if she snags both nods. Only three Black women have been recognized in two individual categories: Viola Davis, Whoopi Goldberg (actress and supporting actress) and Oprah Winfrey (supporting actress and best picture). For comparison, Warren Beatty and George Clooney have been nominated in six. When it comes to Black men, Spike Lee has been acknowledged in five, winning in adapted screenplay for “BlacKkKlansman” (2018).

Dual noms for Hudson would also mark the third time a Black woman has received multiple nominations in the same year. The first two were Mary J. Blige (nominated for supporting actress and for the song “Mighty River” from “Mudbound”) and Cynthia Erivo (nominated for lead actress and for the song “Stand Up” from “Harriet”). They’re not only the first Black women to achieve this feat, but also the first by anyone in Academy history.

Hudson’s possible recognition isn’t significant merely for herself; a nod in best actress would represent a historical accomplishment for her “Respect” director Liesl Tommy. Tommy would be only the second Black woman to direct a Black leading actor or actress to a nomination (behind Erivo by Lemmons). Noteworthy, when you add Leslie Odom Jr.’s double noms for the song “Speak Now” and supporting actor for his turn in “One Night in Miami” from Regina King last year, the three talents recognized for acting and song, have all been directed by Black women.

Although we see improvements in representation for POC in the Academy, the showing for Black women is among its most notable shortcomings. There have been just over 3,100 Oscar statuettes handed out in 93 years. Of that, only 17 were awarded to Black women. Again, for comparison, one man, Walt Disney, was rewarded with 26 Oscars from 1932 to 1969, nine more than the total number of Black women from 1929 to 2021. Additionally, two Black women have been granted honorary statuettes (Winfrey and Cicely Tyson). Disney himself was given four (even one that had seven miniature Oscars on it for “Snow White”).

Hudson’s turn as the Queen of Soul has many devoted fans among awards groups. However, recency bias and mixed reviews have created significant hurdles for “Respect’s” awards prospects. Opening in mid-August, three weeks before Venice and Telluride, the positive buzz for the movie was swallowed up by premieres of more prominent titles. And with the releases of fellow MGM/United Artists Releasing counterparts “House of Gucci” and “Licorice Pizza,” both of which had better reviews and box office, “Respect” seemed to have become an awards season afterthought.

Click here to read the full article on Variety.

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