BLACK HISTORY MONTH Archives - Page 3 of 6

Minneapolis Rap Veteran Psalm One’s Memoir ‘Her Word Is Bond’ Aims To Uproot Misogyny In Hip-Hop

February 17, 2023 by newhiphopnews

At the 65th annual Grammy Awards ceremony, hip-hop celebrated a major milestone: its 50th birthday. To commemorate the occasion, the genre’s pioneer acts, as well as some of today’s rising talents, took the stage of the Grammys for a tribute performance honoring the cultural phenomenon. With a diverse range (or so they tried) of ages, geographic regions, and gender expressions showcased on stage, from the outside looking in, you’d think that hip-hop is a warm, welcoming environment. This couldn’t be any further from the truth, especially as it relates to Black women both in front of and behind the microphone.

Although legendary hip-hop group Salt-N-Pepa, multifaceted talent Queen Latifah, the evening’s Global Icon Award recipient Missy Elliott, and newbie on the block GloRilla delivered a stellar performance, it has been a fight for them and other talented women like them to gain the respect of their male counterparts and predominately male fan base. Whether it comes to being deliberately left out of the conversation (i.e. the late Gangsta Boo being left out of the in-memoriam portion of the Grammys), being harshly criticized for the music’s subject matter (i.e. the Latto and p*ssy rap debate), or the public’s treatment of Megan Thee Stallion during Tory Lanez’ trial for assaulting her — hip-hop still has a misogyny problem.

In her memoir, Her Word Is Bond: Navigating Hip Hop And Relationships In A Culture Of Misogyny, veteran rapper Psalm One provides an unfiltered account of what it is truly like finding your way through the industry as a Black queer woman and all the nuance that comes along with these intersections.

Back in 2015, after your interview with City Pages detailing what you had faced at your former record label (Rhymesayers), you were called everything but a child of God, which you address in the book. Did that play a part in any hesitation you might have had when it came to releasing the memoir?

Being in the court of public opinion for something that happened to me, I felt neglected. It was harmful, and it was really hurtful. I then understand why a lot of women, in particular, disappeared from hip-hop. In 2019, when I started writing the book, you know, I was writing it in sort of like a loose chronological order of my life. So I wasn’t even at those chapters yet. And by the time we started editing those chapters in 2020, my former label got called out again, and it had nothing to do with me. It was bigger than me. It was bigger than my story, but it encapsulated everything that I had dealt with. But because of what happened in 2020 and the boycott, I was like, this is absolutely the time.

So there’s one quote in the book that hit me deeply. You wrote, “It was absolutely heartbreaking to find out that I had tours on the table that my label ignored. It always felt like they didn’t want me to win. They just wanted to say they had a woman on the label so they could look progressive.” We see this not only in your case, we see this even with Megan Thee Stallion’s ongoing battle with 1501 Entertainment. What cautionary tales, advice, or suggestions do you have for these upcoming women rappers that are looking to be validated in those male spaces?

The validation comes with so many caveats. You just never know until you know who really messes with you. I believed these men telling me, ‘Oh, you’re cool and all, but you ain’t like this, or you need to compete with Jean Grae,’ and I could never compete. How am I going to compete with Jean Grae? You’re not giving me any support. Where’s the budget? How could I ever compete with her? And I can’t compete with her, even with a budget. Let me just say that because Jean Grae is like ‘mom’ to me. So it’s like my rap mom. So, like, seriously, it was like sh*t like that made me so confused about what my purpose was. And I wasn’t really given the space to grow as an artist as much as other artists on that label. It makes you feel isolated. It makes you feel like, “Damn, I got to do something extra.” So it is very difficult for a woman to thrive in this space because it was built on a male fantasy. It was built on a straight male fantasy, and it was never built for women to thrive.

In the book, you also mentioned that you found, maybe not directly, but certainly indirectly, that you needed to take full ownership of the business side of your particular art when looking at the success of Nicki Minaj. So did her trajectory have any influence on you on what you wanted to do in terms of, like, the business side?

I think that with Nicki Minaj, I just saw her being supported in a way by her label that I had never seen before, and I just felt like I was jealous. Let’s just call it what it is. It’s jealous. When you look at someone else and say, ‘Why not me?’ That’s just jealousy. And I think that’s something that a lot of artists don’t like to do, especially rappers. I’m not bothered. I’ll never be pressed, I’m never jealous. A lot of artists only move out of that. They move out of jealousy and competition, and it’s upsetting and devastating to many people’s trajectory because they’re chasing.

Once I realized I couldn’t chase Nicki Minaj, it added perspective. But the support that she received, at least the way it looked when she first came out with Wayne, Ye, and Diddy and all these really big people embracing her and saying, “No, you’re the one,” that, to me, was something that I never experienced. And it was something that I thought was great, and it was something that I had wanted for a long time. Now it’s just about not waiting on people because look at Nicki Minaj today. Look at what happened to her last year. It’s a wild thing because I’m like, “If that’s the pinnacle of female rap, if that’s the biggest woman on the scene, and this is what she’s doing, why am I aspiring for this?”

So, in the beginning, we talked about the boycott against your former label, and then to follow that up, the opening line of your Medium article, “I am ready to forgive them.” Have you forgiven them yet? And what does forgiveness look like for you?

Forgiveness is a journey. It is not a destination. It is something that I am very good at some days, and other days I’m not. And also, let’s never forget the saying, “forgive, don’t forget.” It was very important for me to forgive myself and to forgive my former label for everything because that was the only way I was going to be able to move through it. The “Me Too” movement is still a movement. No matter what Amber Heard does in court, no matter what Tory Lanez does in jail, whatever it is, it’s still going to be an issue. It’s something that plagues many artists. It doesn’t matter if you’re a woman or not because, honestly, in the professional abuse that I endured, I had men in my DMs telling me they [experienced] the same thing as me, minus the sexual stuff. You can’t expect people to just be good to you if they weren’t good to people. And I think a lot of labels will “fam” you up, but this is a job. But for me, forgiveness does not mean forgetting. And forgiveness doesn’t mean I shut up.

So what’s next for you in your career overall?

I’m working on a lot of collaboration this year as far as, like, getting my voice on other people’s raps. I have a deluxe version of my last album on the way. My follow-up project is done. I just got the cover art for it. We’re just mixing and mastering, working on a couple of other projects. My partner Angelina has a bunch of projects that we’re trying to get out for her this year. I write music reviews and concert previews for the Chicago Reader, which is a trip because I used to always want to be in the Reader for my work. And now, I’m in the Reader not only for my work but also for reviewing other people’s work, which has allowed me not to be a bitter rapper. So you’re going to see my pen in a lot of different ways, not just rapping.

Psalm One’s book Her Word Is Bond: Navigating Hip Hop and Relationships in a Culture of Misogyny is available where all books are sold. To purchase a physical or digital copy, click here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Blaxploitation Films Shaped The Image Of Hip-Hop (And Still Do)

February 10, 2023 by newhiphopnews

Blaxploitation and Hip-Hop — Getty Image/Ralph Ordaz

This year, I’ve been celebrating Black History Month with a Blaxploitation movie marathon. So far, I’ve hit plenty of the classics: Shaft, Foxy Brown, Cleopatra Jones, Superfly, and Dolemite.

Although these movies were all released a good decade before I was born, there’s a comforting familiarity to them. What I realized is that many of the aesthetics, characters, references, and tropes are so recognizable because I indirectly grew up on them through hip-hop.

For the past 50 years, hip-hop has been largely associated with a certain kind of villainy or anti-heroic spirit. It seems as though rap fans love to root for the bad guys: from Eazy-E to 50 Cent to 21 Savage, many of rap’s most prominent protagonists have been the kinds of dudes you’d hesitate to bring home to your mom.

But that image didn’t spring up overnight, nor was it the wholesale invention of the artists who embraced it. There’s a connection between the way rap – an indisputably Black art form – presents its world of crime, sex, and violence and some of the first modern representations of Black people in mass media and entertainment: Those Blaxploitation films.

Now, the history and context of these films are as rich and complex as any other Black American history you’ll learn about in February. It’s been covered extensively in documentaries like Netflix’s Is That Black Enough For You?!?! and in books like Josiah Howard’s Blaxploitation Cinema, so instead, I’ll just give a primer here.

Although Black actors and filmmakers are indelible to the history of cinema, reaching back all the way to the medium’s origins, it’s fair to say that in the 1970s, opportunities for Black folks in Hollywood were few, far between, and undesirable even if you could get them.

For the most part, the roles Black actors could secure were those of two-bit crooks and villains. If you saw us on-screen at all, we were antagonists, comedic sidekicks, or hapless victims, easily and quickly dispatched to serve the white stars – and audiences.

But with the advent of self-financed films like Sweet Sweetback’s Baadasssss Song, and action films like Cotton Comes To Harlem and Shaft, Black audiences finally got to see themselves reflected on the screen as the drivers of the plot. In these films, the heroes were bigger than life, backtalked “the Man,” and took no sh*t from anybody. Most importantly, the Black characters won at the end, right or wrong.

In a clever inversion of the typecasting that had defined Black roles for the past five decades, the protagonists of these films were often criminals: drug dealers, pimps, or hustlers just trying to get over. The difference was that by viewing the narratives from their point of view, audiences were invited to sympathize with them and see the circumstances that led them to these “careers.”

While watching Superfly, I found myself reciting Eddie’s monologue to Priest word-for-word, despite only having seen the film one other time in my life. “You’ve got this fantasy in your head about gettin’ outta the life and setting that other world on its ear. What the F*CK are you gonna do except hustle? Besides pimpin’? And you really ain’t got the stomach for that.” I realized, though, that I’d heard that line dozens of times already… just in a different medium.

That excerpt is one of the hundreds that have been sampled in rap records since at least the early ‘90s (in this case, it appears on Jay-Z’s Kingdom Come intro “Prelude” ahead of one of Jay’s most masterful lyrical performances to date). The parallels between Blaxploitation and rap are manifold – and no accident, since Blaxploitation was one of the early influences on the genre.

For the Black teens growing up in the ‘70s, Blaxploitation would have held a lurid allure: In addition to the draw of seeing Black faces on the screen, the films were full of more titillating material like gunplay, martial arts, and of course, gratuitous nudity. So it makes perfect sense that when they were creating hip-hop from the ground up, that soil would have already been seeded with images from these larger-than-life examples of Black anti-heroism.

That’s why early rappers like the Cold Crush Brothers, the Furious Five, and Slick Rick presented themselves with badder than badass superhero personas. They were taking inspiration from TNT Jackson, Youngblood Priest, and Black Belt Jones – characters they’d seen on the screen who represented aspirational qualities, both good and bad, for kids surrounded by urban blight and constantly confronted with institutional and interpersonal racism.

As hip-hop evolved, so too did rappers’ relationships with Blaxploitation films. One of the more obvious examples is Snoop Dogg, whose fascination with these movies persists to this day (the hallways of his Los Angeles compound are adorned with posters from these films, which he references often in his music, marketing, and presentation).

And the one that comes up the most is Dolemite. Snoop references the Rudy Ray Moore film in his final verse on Dr. Dre’s 1992 single “Nuthin’ But A ‘G’ Thang” and numerous rappers have name-dropped him in their own music. Ol’ Dirty Bastard even used clips from the film in his video for “Got Your Money” in 1999.

As a role model, Dolemite probably couldn’t be worse. The film’s obvious technical flaws aside, it’s pretty clear throughout the film that Dolemite is a disreputable sort of character. But, it makes sense, in a certain way, that rappers relate to him. In the film, he’s framed for committing crimes that are outside of his criminal wheelhouse. Meanwhile, rappers were often accused of criminal activity and blamed for pretty much any sensational crime in America throughout the first 40 years of hip-hop’s existence.

Like Blaxploitation filmmakers, many decided to lean into their typecasting. If the only roles Black folks could get in movies were of pimps and hustlers, why not turn them into heroes? By the same token, rappers – who often did have criminal pasts or at least connections – seem to have decided that, if they’re going to be cast as bad guys, then they’ll be the bad guys while making all the more money from doing so.

This is how you get rap “heroes” like Future, whose music espouses substance use he himself admitted to giving up ages ago. It’s how 21 Savage, in the midst of a deportation battle with the US government, can still find time for some “Knife Talk.” It’s why 50 Cent and Snoop Dogg teamed up for a player’s ball – a common theme in rap videos – in their “P.I.M.P.” video. It’s why, 50 years into hip-hop’s official history, we still see young rappers tying themselves to gangster imagery, even when it couldn’t be more obvious how far removed they are from those situations in real life.

Most of the time, rap, like Blaxploitation, is a performance. Artists embrace these roles – oftentimes, with obvious, tongue-in-cheek homage (see: Camp Lo, Anderson .Paak) – as a way of honoring the past, whether intentionally or unintentionally. All are just aping the conventions that they looked up to as kids; contemporary or future generations just may not be aware that they themselves are just giving modern takes on old favorites.

The legacy of Blaxploitation is more than just bell bottoms and platform shoes, butterfly collars and perfectly-coiffed afros, or Black anti-heroes slapping down “jive turkeys” and fighting the Man. It’s the resiliency of people who were often denied opportunities making their own. It’s the creativity to reverse society’s expectations of villainy and turn themselves into heroes. It’s their ability to craft a new mythology when theirs was torn away. And that legacy lives on in hip-hop, even 50 years later.

How Rihanna Defined The Role Of A Black Entrepeneur

February 9, 2023 by newhiphopnews

The richest artists in the music industry do not make most of their money from music. Take Jay-Z for example, the bulk of his yearly income comes from his investments in brands like Tidal, Armand de Brignac, D’Ussé, and his Roc Nation entertainment and sport management agencies. It’s the same with Kanye West thanks to his entities like Yeezy and GOOD Music as well as Diddy thanks to some hefty real estate investments. Contrary to what one might expect in such a male-dominated industry and world, at the top of the wealthiest musicians list sits none other than this weekend’s Super Bowl halftime show performer, Rihanna. Her monetary success is also mostly credited to profits outside of the music world, but there are several things that make her’s different from the rest.

Rihanna’s rise to being the music industry’s wealthiest artist didn’t come as a result of smart (or lucky) investing or a sharp talent with real estate. The Barbados-born superstar achieved astounding monetary success through Fenty, a fashion and beauty brand created to offer products that amplified her consumers’ beauty regardless of their gender, size, skin color, and more. According to Forbes, Rihanna’s current net worth is $1.4 billion and it’s not too difficult to see why that might be the case. Fenty is largely responsible for that number as it houses companies like Fenty Beauty, Savage X Fenty, and Fenty Skin, all of which were launched between 2017 and 2020. Fenty itself was launched in 2019 under the fashion house LVMH which made Rihanna the first woman to create an original brand for the fashion house and the first woman of color to lead an LVMH brand. That’s just one example of Rihanna’s milestone career outside of music. Fenty is undoubtedly not only a highlight for Rihanna, but it’s also a story to be studied and appreciated by all businessmen and businesswomen in the future. What makes its success even more applauding is that Rihanna nearly went bankrupt a decade before Fenty launched.

In 2009, Business Insider reported that her income plummeted from nearly $50 million to $2 million due to severe financial mismanagement from her accounting team. Three years later, she sued the accounting firm for mismanagement and won $10 million in damages. It should be noted that these three years were the most active in Rihanna’s career as she released four albums – Rated R, Loud, Talk That Talk, and Unapologetic – in that time span. It would be another four years until Rihanna delivered another project, that of course being Anti, and to this day, we’re still waiting for the follow-up of that album. Nonetheless, Rihanna’s success outside of music has given her the luxury to be as sporadic as she pleases with her musical outputs. Though the earnings that she receives from music and beauty are different, Rihanna made sure to approach the latter with the same artistic vision, intentionality, and divergent thinking that made her a star in music.

Rihanna’s brands won quickly thanks to the practice of inclusivity. Many brands in and outside the beauty industry, but especially in the beauty industry, preach inclusivity and do otherwise. In a well-publicized move, Fenty offered 40 different foundation shades to its consumers, a move unheard of in the beauty industry. The decision answered complaints from Black and brown customers who were beyond tired of not being represented by the various other brands in the industry. It also welcomed them into a world and company that accepted them for who they are and nothing less. A similar move was made in 2020 with Rihanna’s Savage X Fenty Vol. 2 show. Rihanna introduced plus-sized clothing for Savage X Fenty, and for the brand’s annual fashion show, she made sure to include plus-sized men and women. They were seen in the trailer for the show, the show itself, and on the Savage X Fenty website where the products were sold. In response to this, Christopher Rosa from Glamour, who described himself as a “fat, fem gay man,” wrote, “…to see someone with stretch marks, a stomach, and pecs that aren’t “perfect” not just be represented but celebrated means more to me than I thought it would.” He later added, “I didn’t realize just how much representation could help me in that battle until now.” Though it can’t be seen and physically held like money, the value of inclusivity is undeniable, and arguably, more important.

Luxury is often placed side by side with exclusivity, a pair that is then often placed next to value and wealth. Especially in the fashion world, it often seems like there is a hefty price to pay in order to indulge in what is deemed luxurious. Despite this, we’ve recently seen that this is not always the case. Take Teflar for example, its handbags have been a hot commodity for a few years now, and though are available to purchase for everyone at a reasonable price, this inclusivity hasn’t diminished its luxury. The point is, luxury and inclusivity can be and should be synonymous and it’s a concept that Rihanna understood from the very start with her Fenty brand.

There are many ways that Rihanna redefined the role of a Black entrepreneur. Through Fenty, she emphasized that success can be attained and maintained by looking in the mirror at the world around you – that is, the world that you’ve naturally existed in for your life. Pandering to those who don’t look like you and can’t relate to you, while also neglecting the rest, will only bring you short-term success. They won’t lift you up like your own will. Rihanna also threw caution to the beauty standards that have often put down certain groups to amplify others. The Fenty experience is available to anyone who seeks to amplify their own beauty and style. Rihanna’s entrepreneurial success isn’t connected so much to investing in companies or real estate and finding wins there, instead, she proved that chasing a vision and using her status to change the status quo around her is certainly possible. In a 2017 interview with Time, Rihanna said that her “lifelong obsession” with makeup products began with “watching my mom put her makeup on.” After getting her makeup done at 15 or 16 for a pageant, Rihanna added, “Ever since then, ever since I saw foundation on my skin, I could never look at my skin without foundation again. Makeup, it spoiled me.” Nearly two decades later, Rihanna has built an empire that gives consumers from all over the world the opportunity to have that same feeling.

How Black History Month Came to be

February 9, 2023 by newhiphopnews

February marks the annual observance of Black History Month, a federally recognized, nationwide celebration that honors the triumphs and struggles of African Americans throughout U.S. history. Furthermore, the month sheds light on the massive influence Black men and women have held in shaping the world around them. It is not a random occurrence that February is the month for this remembrance.

Carter G. Woodson, a pioneer in the study of African-American history, is widely accredited for the recognition of Black History Month. Founder of the Association for the Study of African American Life and History, he was one of the first scholars to study the history of the African diaspora, including African-American history.

Woodson was born on December 19, 1875, in New Canton, Virginia as the fourth of seven children. As the son of former slaves, Woodson’s childhood was spent working in coal mines and quarries. He later received his formal education during the four-month term that was routine for black schools at the time.

By 19, Woodson taught himself English fundamentals and arithmetic. HE entered highschool shortly after where he completed a four-year curriculum in two years. He then went on to earn a master’s degree in history from the University of Chicago, which laid the foundation for his journey to obtaining a doctorate from Harvard in 1912. He was the second African American to earn a Ph.D. from the prestigious institution, after Du Bois.

Black History Month is derived from Woodson’s innate sense to spearhead change. He was deeply disturbed by the censorship he witnessed in textbooks. These books largely buried America’s Black population by disregarding an enormous part of history. Woodson took on the challenge of writing black Americans into the nation’s history.

He began by establishing the Association for the Study of Negro Life and History. He later founded the group’s largely respected publication, the Journal of Negro History. By 1926, Negro History Week was in full effect, which celebrated the historic contributions of Black people. He believed “the achievements of the Negro properly set forth will crown him as a factor in early human progress and a maker of modern civilization.”

The formation of Negro History Week catapulted the creation of Black History Month in 1976.

Woodson chose the month of February, specifically the second week, because it marks the birthdays of two men who greatly influenced the black American population. Those men are Fredrick Douglas, who celebrated his birthday on February 14th, and President Abrahama Lincoln, born February 12th. Woodson’s contributions led him to be recognized and respected as the Father of Black History.

The post How Black History Month Came to be appeared first on The Source.

Black History Month: 10 Black Media & Lifestyle Innovators You Should Know

February 9, 2023 by newhiphopnews

In honor of Black History Month, SOHH spotlighted 10 of the best Black innovators within the entertainment, media, and lifestyle industries. The list includes noted filmmakers, authors, and artists. With Black History Month underway, SOHH has put together a list to celebrate ten of the best Black creators in the media and lifestyle space: Robert […]

The post Black History Month: 10 Black Media & Lifestyle Innovators You Should Know appeared first on SOHH.com.

How Rihanna’s Non-profit is giving back during Black History Month

February 6, 2023 by newhiphopnews

230201071507 rihanna clara lionel foundation

February marks an important month for the culture including the headliner of this year’s Super Bowl halftime performance. Not only does this history maker excel at her craft, she is a dedicated philanthropist with her own innovative nonprofit.

In 2017, Rihanna received the Harvard Humanitarian of the Year award and in 2021 she became the wealthiest woman in music– reaching billionaire status.

Born and raised in Bridgetown, Barbados, Rihanna founded the Clara Lionel Foundation in honor of her grandparents in 2012. CLF advocates for environmental and social justice projects throughout the United States and Caribbean. The non-profit notes these areas are among the most disaster-prone regions in the world and have been especially vulnerable to the effects of climate change.

CLF’s climate resilience programs develop and construct emergency preparedness solutions, like upgrading infrastructure and keeping health care accessible during crises.

“CLF’s goal is for the Caribbean to become the world’s first climate-resilient zone by helping communities prepare for and withstand natural disasters,” says Christine Platt, Director of Communications at CLF.

These mitigation techniques and models can be expanded into more regions to proactively influence change in the world. The foundation’s latest initiative, With/Stand, embodies a commitment to global collaboration. CLF has funded programs in over 35 countries and all 50 states, spanning climate justice, natural disaster response, covid pandemic relief, education, and racial equity.

“CLF prides itself on focusing its support of climate justice initiatives led by Black, Indigenous, people of color, with 100% of our current Caribbean partners being BIPOC-led. And that’s because we understand that environmental justice is intricately interconnected with racial injustice,” Platt says.

This Black History Month, CLF is running a campaign to honor climate change reform pioneers such as Colonel Charles Young, the first Black Superintendent of the National Park Service.

Platt said “At CLF, we are always celebrating, highlighting, supporting, and amplifying the work of Black environmentalists, both domestically and in the Caribbean.” Rihanna’s Clara Lionel Foundation has spent more than $54 million on justice initiatives in the Caribbean and United States.

The post How Rihanna’s Non-profit is giving back during Black History Month appeared first on The Source.

The Source Magazine Remembers Trayvon Martin On What Would’ve Been His 28th Birthday

February 5, 2023 by newhiphopnews

Today marks what would be the 28th birthday of a young man by the name of Trayvon Martin, that not only in the United States but the rest of the world came to know because he chose to defend himself against his assailant George Zimmerman and his life was taken as a result.

George Zimmerman claimed that he saw Trayvon leaving a store and that he looked suspicious, so he decided to follow him. After following him, a physical altercation transpired between the two of them and an unarmed Trayvon took a bullet to his chest and died on the scene. Trayvon died two weeks after his 17th birthday on February 26, 2012. As for Zimmerman, he received was a jury acquittal for second-degree murder and manslaughter charges in July 2013.

Trayvon didn’t get the chance to tell his parents goodbye, attend prom, or pretty much any of the things that are enjoyed by teenagers. His parents Sabrina Fulton and Tracy Martin have to live with the burden that their child did not receive any justice for what happened to him.

Almost nine years after his untimely death, Trayvon Martin’s legacy in the fight for human and civil rights for Black people in America is everlasting. His name still stands among the victims of gun violence by rogue police officers and overzealous citizens that came after him such as Mike Brown, Tamir Rice, Ahmaud Arbery, Sandra Bland, Breonna Taylor, George Floyd and countless others.

Happy Birthday King! (RIP)

The post The Source Magazine Remembers Trayvon Martin On What Would’ve Been His 28th Birthday appeared first on The Source.

Today In Black History Month #BHM: Amadou Diallo Shot And Killed By NYPD 24 Years Ago

February 5, 2023 by newhiphopnews

24 years ago on this date, a 23 year old Guinean immigrant named Amadou Diallo was murdered by four plain clothes NYPD police officers in his hallway after they unloaded 41 shots into Diallo in front of his Bronx apartment. The haphazard officers hit Diallo with only 19 shots; less than half of what was discharged from their weapons.

All four the officers involved were cleared of any wrongdoing after a mixed jury in the Empire State’s capital city acquitted the officers. Claiming the impossibility of a fair trial in NYC, an appellate court ordered that that the trial be switched to Albany. Amadou’s family filed federal and state charges of wrongful death and civil rights violations in 2001, which resulted in a $3 million dollar settlement from the city.

Interestingly enough, the Justice Department decided that Diallo’s civil rights were not violated.

Artists such as Immortal Technique and Wyclef Jean have referenced the tragedy in their songs, which became one of the most pivotal cases in the fight against police brutality.

Deaths at the hands of law enforcement such as George Floyd, Botham Jean, Eric Garner and Breonna Taylor will always be a reminder that the challenge of injustice against Black and Brown people must be confronted.

The post Today In Black History Month #BHM: Amadou Diallo Shot And Killed By NYPD 24 Years Ago appeared first on The Source.

TikTok Celebrates Black History Month with First-Ever Visionary Voices List

February 4, 2023 by newhiphopnews

TikTok unveiled their first-ever Visionary Voices list, which honors Black creatives, small business owners, and culture changemakers on TikTok, as well as #BlackTikTok programming and initiatives to commemorate Black History Month, such as special guest and album playlists, a week-long #womeninhiphop celebration, and more!

The #BlackTikTok community is at the vanguard of culture and creativity, from creating viral dances and sounds to teaching neglected Black history and celebrating Black Joy through music, fashion, wellness, and more. TikTok honors #BlackTikTok this Black History Month and throughout the year to highlight the impact this community has had on culture as large.

TikTok celebrates Black History Month by highlighting the innovators, changemakers, and small companies at the forefront of #BlackTikTok and culture in general. Our festivities will feature the release of our first Visionary Voices list, the third edition of our Visionary Voices Media Salon series, Black music playlists, LIVE programming, and more.

You can learn about the creators below.

@_itzpsyiconic_ (Houston, TX) – On TikTok, Kelon has constructed an entire universe (dubbed the “Terriverse”) of complete disorder. Kelon has delivered smiles to his devoted followers nightly on TikTok LIVE while portraying his infamous personas Terri Joe, Jeorgia Peach, and Amethyst Jade. His material is not for the faint of heart, but it guarantees a good time and a good chuckle.

@cozy.games (San Francisco, CA) – Kennedy is a game developer and lifestyle designer that focuses on infusing warmth into all facets of life. With inspirational content and game recommendations, she hopes to invite more individuals into the “cozy” side of the gaming community.

@emmanuel.uddenberg (Toronto, Canada) – Emmanuel Uddenberg is a TikTok creator from Toronto who mixes his love of fashion and creativity via his films. His taste in minimalism and modern aesthetics, as well as his laid-back manner, pervade his account, creating a tranquil atmosphere for individuals looking for everyday style inspiration.

@kahlilgreene (New York, NY) – Kahlil Greene, dubbed the “Gen Z Historian,” is a digital educator best known for his Hidden History series, which delves into instances of American injustice. Kahlil is a Yale University alumnus who served as the college’s first Black president in its 318-year existence. His purpose is to provide young people with a knowledge of why American society runs the way it does through commentary on US politics and culture.

@xoxoemira (New York, NY) – Kahlil Greene, dubbed the “Gen Z Historian,” is a digital educator best known for his Hidden History series, which delves into instances of American injustice. Kahlil is a Yale University alumnus who served as the college’s first Black president in its 318-year existence. His purpose is to provide young people with a knowledge of why American society runs the way it does through commentary on US politics and culture.

@chikybomreal (Miami, FL) – Chikybombom, Lisette Eduardo, is a social media celebrity, businesswoman, and media influencer. She is originally from the Dominican Republic and is one of the most well-known internet personalities, with over 10.3 million netizens following her on TikTok.

@icespicee (New York, NY) – “You thought I was feelin you?” has become a popular line on social media, thanks to Bronx rapper/singer Ice Spice. That question was first addressed by the 23-year-old rising singer on her viral song “Munch (Feelin’ U),” and it has been up ever since. While Ice Spice is steadily rising through the ranks as the First Lady of Bronx Drill, she has much more in store for her—crossing genres and expanding her reach beyond New York City.

@keith_lee125 (Las Vegas, NV) – Keith Lee is a creative based in Las Vegas, Nevada who utilizes his platform to spotlight small-owned and family-run businesses that may have excellent food and service but are not widely known. He uses his meal review method to deliver his honest opinion while doing one of his favorite things: eating.

@lynaevanee (Atlanta, GA) – Lynae Vanee, a two-time NAACP Image Award nominee, is an Atlanta-based poet, producer, director, and starring performer. Lynae, a Spelman College and Boston University graduate with a Master of Arts in African American Studies, uses her digital platforms to discuss race, feminism, politics, and inclusivity.

@maiyathedon (New York, NY) – Maiya The Don is a Brooklyn-bred Hip Hop artist known for her huge personality and braggadocious punchlines, and she’s on a mission to make everyone feel as confident as she does. Maiya, a 20-year-old makeup artist and beauty maker on TikTok, is soaring to prominence with her new single “Telfy,” which pays homage to Black-Owned fashion brand Telfar.

@brandonblackwoodnyc (Brooklyn, NY) – Brandon Blackwood was born and raised in Brooklyn, New York, and is the Founder, Creative Director, and CEO of his own brand. He is a first-generation American born to Jamaican and Chinese parents, and he founded Brandon Blackwood NYC in 2015, which is heavily influenced by his personal life, since each bag is named after his family, close friends, or places he has lived. He was also nominated for a CFDA Award for Best Accessory Designer recently, and his brand has subsequently grown into eyeglasses, outerwear, and footwear.

@danessamyricksbeauty (Bethpage, NY) – Danessa Myrick’s has been a celebrated makeup artist and educator for over 25 years. Her multi-use products enable beauty lovers of all skin tones and skill levels to create, modify, and explore a world of beauty without borders.

@juicybodygoddess (Charlotte, NC) – Summer Lucille is a Charlotte, NC-based creator and entrepreneur that blends her love of fashion and developing women’s confidence through TikTok videos. She tells people that they are appreciated and encourages everyone to love their size, belly, and body, regardless of size or weight.

@spicekitchengrill (Brentwood, MD) – Olumide Shokubi, the founder and proprietor of Spice Kitchen, is a first-generation Nigerian-American committed to reforming, educating, and empowering Black people globally. General Manager Marcus Bryan seeks to promote the beauty of Black cuisine by sharing the jewel that is West African street food with the globe through creative videos on TikTok.

@urbandessertlab (New York, NY) – Urban Dessert Lab, the World’s First Oat-Milk Ice Crème Shoppe, was founded by Courtney B. and Zan B.R. The duo has a cult following and nationwide media and celebrity recognition for their plant-based concoctions, which include artisanal soft serve, hard scoop ice crème, cakes, toppings, and mix-ins, with a location in New York City and a second one coming soon to West Hollywood, CA. Zan and Courtney regularly collaborate with organizations that raise awareness about social justice problems and use TikTok as a platform for community interaction, involvement, and the sharing of delectable content.

The post TikTok Celebrates Black History Month with First-Ever Visionary Voices List appeared first on The Source.

SOURCE SPORTS: #BHM: Doug Williams First Black QB To Win Super Bowl 35 Years Ago

February 3, 2023 by newhiphopnews

As we wait to see the Kansas City Chiefs play the Philadelphia Eagles for the Super Bowl LVII crown, it is important to remember Black History Month runs in tandem with this unofficial American holiday. Despite declining viewership due to the Kaepernick controversy, the NFL is still one of the most-watched sports in the country and is dominated by African-Americans who currently make up two-thirds of the league. With that much Black representation in the NFL comes a lot of Black History including the first Black Quarterback to ever win a Super Bowl.

In 1988, it was Broncos legend and future Hall-of-Famer John Elway versus a then-unknown Redskins backup Quarterback Doug Williams.

Prior to the 1987 season, Williams had not played in multiple NFL games in a season since 1982 as a Quarterback for the Tampa Bay Buccaneers. Williams spent a period of time playing for the USFL team, the Arizona Outlaws, but following the folding of the USFL, Williams was picked up by the Washington Redskins.

For the 1988 championship, the Denver Broncos took on the Washington Redskins. Both teams took four losses in the regular season but the Redskins had more wins thanks to a tie game the Broncos had during the season against the Green Bay Packers.

Elway was selected to the AFC Pro Bowl game and won the Most Valuable Player award as well that season. The Broncos had been to the Super Bowl the year before but lost to a different NFC East team, the New York Giants, so the city was thirsty for another shot at glory.

As for the Redskins, before there were thoughts of a Super Bowl, Williams was competing with ‘Skins quarterback Jay Schroeder throughout the regular season for the starting job. According to Redskins.com, a lackluster performance from Schroeder in the final game of the season and stud level play in the same game from Williams became the deciding factor of who would be the starter going into the post-season.

Things started out slow for Washington in the Super Bowl. The Denver Broncos got out to a quick start with a 10-0 lead, but Williams and the Washington Redskins rallied scoring 42 unanswered points against the back-to-back AFC champions. Williams threw for 340 yards passing and 4 touchdowns earning him Super Bowl MVP honors.

The post SOURCE SPORTS: #BHM: Doug Williams First Black QB To Win Super Bowl 35 Years Ago appeared first on The Source.