Last summer, in Detroit’s St. Paul Church of God in Christ, I watched Bill Cosby summon his inner Malcolm X. It was a hot July evening. Cosby was speaking to an audience of black men dressed in everything from Enyce T-shirts or polos to blazers and ties. Some were there with their sons. Some were there in wheelchairs. The audience was packed tight, rows of folding chairs extended beyond the wooden pews to capture the overflow. But the chairs were not enough, and late arrivals stood against the long shotgun walls, or out in the small lobby, where they hoped to catch a snatch of Cosby’s oratory. Clutching a cordless mic, Cosby paced the front of the church, shifting between prepared remarks and comic ad-libs. A row of old black men, community elders, sat behind him, nodding and grunting throaty affirmations. The rest of the church was in full call-and-response mode, punctuating Cosby’s punch lines with laughter, applause, or cries of “Teach, black man! Teach!”
Thank you to @negrophile on twitter for sharing.
In addition to being a highly anticipated homecoming for the former child star of San Pedro Ballet, Copeland's renditions of the "pas de trois" and dance of the "four swans" will codify her recently elevated position as the first black woman in the history of ABT to ascend to the level of soloist. Thank you, twitter.com/negrophile, for the article.
[unfortunately this link is dead and I did not copy the text. Sorry! =(]
STORRS — - Strange as it might seem, especially to those who remember the black power movement of the 1960s and black studies programs popping up on college campuses in the 1970s, none of Connecticut's public universities offers a major in African American studies.But the University of Connecticut hopes to change that by offering its first African American Studies major this fall.Combining the talents of 10 professors already at the university, UConn plans to offer an interdisciplinary program that explores key aspects of the history and culture of African Americans.