Naomi Campbell joins leading black Britons in photography show

Naomi Campbell, Thandie Newton and Laura Mvula are among 37 black Britons whose portraits will go on show in a major exhibition.

The trio, with other familiar faces including Sir Trevor McDonald and Tinie Tempah, were all photographed by Simon Frederick for a BBC documentary, Black Is The New Black. In it, they discuss their experiences in the UK.

The 39 prints will go on show at the National Portrait Gallery in November next year. The collection is the largest acquisition of portraits of black Britons in the gallery’s history and was donated by Frederick after a donation from tech firm AOL. Other sitters included John Sentamu, the archbishop of York, and Homeland actor David Harewood.

Gallery director Dr Nicholas Cullinan said: “These striking portraits of black British sitters powerfully reflect the diversity and variety of contemporary British achievement in public life. The National Portrait Gallery is delighted to receive Simon Frederick’s very generous gift of photographs.”

Frederick will also speak at the gallery on Thursday, to mark Slavery Remembrance Day, about the effect one of its paintings, Benjamin Robert Haydon’s 1840 piece The Anti-Slavery Society Convention, had on his work.

Are you a budding artist? Enter the Evening Standard Contemporary Art Prize in association with Hiscox and you could win £10,000. Visit standard.co.uk/artprize

RankTribe™ Black Business Directory News – Arts & Entertainment

Koch Brothers Reaching Out To African Ameri

Curley Dossman

[Business Exchange Column]

What do you think of the Koch brothers?  Many Blacks may want to take a look beyond the headlines to see what Koch money has been doing where we live.  

Koch entities are in the forefront challenging America’s disparate systems, particularly that of criminal justice. Koch-affiliated organizations and entities dedicated to reducing society’s reliance on imprisonment as a solution to social problems have engaged with numerous Blacks toward improving their communities’ well-beings. 

Members of the Congressional Black Caucus, who spent decades pushing for criminal justice reform, have engaged with Koch affiliates to counter the overwhelming effects the War on Drugs has had on communities of color. The staggering racial disparities have wrought are: Blacks are jailed on drug charges 10 times more often than Whites. More people of color are in prisons and on probation than ever before: One in three Black men can expect to be incarcerated in his lifetime.

At the 57th Southern Christian Leadership Conference (SCLC) national convention in Baton Rouge Dr. Benjamin Franklin Chavis, Jr., was part of a panel for reforming the criminal justice system with Mark V. Holden, the senior vice president and general counsel of Koch Industries, Inc.  

The “Bipartisan Efforts to Reform the Criminal Justice System” panel was sponsored by Georgia-Pacific and Koch Industries.  An affirmed civil rights leader, Chavis is president and CEO of the National Newspaper Publishers Association.  

Chavis acknowledges that the Koch brothers engage in conservative politics, but sees merit in working with them. Holden, Koch Industries’ general counsel, said the company has been working on criminal justice reform for the past 12 years and that the reform he seeks “should be broad-based and include everything from racial profiling to disparate sentencing and prosecutorial misconduct.” 

It’s not hard to see that the Koch brothers have been making inroads into Black American lives and institutions. Over the years, Koch grants have supported scores of Historically Blacks Colleges; their $25 million contribution to the United Negro College Fund was roundly criticized by some Blacks and applauded by others. Georgia-Pacific, a Koch subsidiary, has been a longtime supporter of SCLC, and Chavis has signaled his intention to enlist Koch Industries to advertise in Black newspapers.

The Koch viewpoint is to “replace dependency with opportunity.”  Surely to advance their message, Koch organizations should partner with the nation’s network of Black community news and information entities as a means of connection and communication.  

The “main man” in the Koch orbit is Curley Dossman, a Georgia Pacific vice president in Atlanta.  At the $20 billion-a-year Georgia-Pacific behemoth Dossman heads the Georgia-Pacific Foundation, which funds: education, enrichment, environment and entrepreneurship.   

A Black Louisiana-born Cajun, Dossman has supported Atlanta-based projects such as the Southern Christian Leadership Conference (SCLC), National Black Art Festival, and as national president of 100 Black Men of America.  

Georgia-Pacific and SCLC have schools, community leaders and businesses working to teach character-building, financial literacy and career development through the lens of great American ideals and civic responsibility.  Aspiring young Black entrepreneurs are funded by Georgia-Pacific in the YEGeorgia business education program targeted to nurture such skills among high school students.

Entrepreneurial Blacks endorse the Koch’s capitalistic values and beliefs.  Many Black groups are very liberal in their orientations; causing them to accuse the Koch brothers of: the government shutdown; voter suppression; global warming; and, numerous other diabolical and evil plots.  

But, in the end, Chavis is “progressive” to align Black publishers with Koch free-market programs and principles. Led by many second-generation entrepreneurs, America’s current crop of Black Press publishers provide voice for Blacks and their interest through operation of some of the oldest, most trusted community newspapers in America.  

These are the leading newspapers in their markets and communities, because Black Press newspaper operators provide readers a unique blend of local news coverage, commentary and marketing opportunities.  

There is a high need for entrepreneurial education among African Americans; the Kochs and their affiliate organizations can facilitate broad information and philosophy exchange by partnering with the Black Press to get their libertarian message out to and through urban America.

William Reed is publisher of “Who’s Who in Black Corporate America” and available for projects via Busxchng@his.com

RankTribe™ Black Business Directory News – Arts & Entertainment

Hope HB160 – First Look

Hope are finally ready to unleash the Beast from Barnoldswick to the public. Hope owners, Ian Weatherill and the late, Simon Sharp, had always dreamed of building their own bike. There are hundreds of different sketches and renderings at Hope HQ and prototype bikes, but it wasn’t until now that they could finally construct a bike they wanted to ride, and more importantly to them, build almost entirely in-house.

The HB211 prototype was shown to the public, but the brand was always coy about whether or not it would make it into production, or if it was purely a showpiece. Now the bike is available to order, in limited quantities, and you can have it in any color you like, as long as it’s raw carbon and black. In fact, the only option for customers is the color of anodized parts, the usual six Hope shades will be available, and finally Team Green will be available to buy on this complete bike only. Color aside, the bike is only available as one package (with some options on rotor size, stem length, chainring size), built with as many Hope parts as possible, and only from selected Hope dealers or direct from the factory. Available from September onwards, Hope will produce 500 bikes per year, so get in line. How much is the big question: £7,500 will get you a piece of hand laid history.

Hope HB160 Details

• Intended use: trail, enduro, mountain biking
• Carbon front triangle, alloy rear
• Travel: 160mm
• 27.5″ wheels
• 130mm rear hub spacing
• Fox Suspension
• Weight: 14 kg (claimed)
• Sizes: S, M, L, XL
• Made in the UK
• Price: £7,500 / $9,663 USD approx.
www.hopetech.com

Hmmm weavy...

Hmmm, weavy…

Hmmm machiney...

Hmmm, machiney…
Where to start on the details? It seems that every nook and cranny of the HB160 has been pondered over many a brew (that’s tea in Yorkshire). Not simply selecting parts from a catalog and putting them in the right place, but thinking critically and making parts that better suit the needs of this bike. The front triangle is carbon, laid in Barnoldswick in return for British wages, safety standards and income directed into their local community. Cable routing is internal with 3D ports printed in-house. The water transfer graphics are added before the final matte finish lacquer is applied.

Carbon production is currently always associated with Asia. But Hope pointed out some good reasons UK manufacture is a smart move. Firstly, one of the major costs of a carbon bike is the mold. If your entire business revolves around machining bike parts, then this isn’t an issue, though they did have to buy a machine bigger than anything they had previously to machine the huge £700 hunks of raw material into shape.

Secondly, the UK has a huge wealth of carbon expertise related to Formula One car construction, so finding an expert to help with the finer details of this black art was easy.

Production models will be badged the HB160. Does that mean there could be some other numbers following the capitalised letters in the future

Production models will be badged the HB160. Does that mean there could be some other numbers following the capitalized letters in the future?

Cable routing ports are 3d printed in house.

Cable routing ports are 3D printed in-house.
Hope’s solution to creaky press-fit BB’s uses a tube that threads together inside the frames bottom bracket shell for a solid fit. There is a custom chain guide that fits onto tabs above the bottom bracket shell, single chainring compatible only, of course.

Moving towards the rear wheel things get more interesting with the funky offset rear triangle; following somebody along a trail on the HB160 almost looks as if their bike has taken a side on impact from a car. The idea here is to reduce the width of the rear hub to 130mm for better clearance through Yorkshire gritstone, though the hub flanges sit a similar width apart to a boost hub. Space is saved between the frame and disc, and disc and spoke flanges, the spoke angle is also symmetrical which is touted as the ultimate solution for reliable wheel building. The hub axle is 17mm instead of 12mm, which is the size of Hope hub inner bearing races, the races sit directly on the axle, instead of on spacers on the axle.

I m glad that a company finally sorted out the waste of space found at the rear axle of nearly every bike on the market. Instead of making it wider you can just make it better

I’m glad that a company finally sorted out the waste of space found at the rear axle of nearly every bike on the market. Instead of making it wider, you can just make it better.

The radial brake and mount are also Hope’s own. Both are designed to sit perpendicular to the hub. This means that to change disc size riders can simply to add or remove spacers to raise or lower the caliper, instead of trying to find that obscure ‘IS160 Front Old to PM203’ mount from 2003 that you need on your modern bike to upgrade the rotor by 20mm. There are also Lego-like bosses on the mount that sit inside the bolt hole on the caliper to help keep things in line.

Confused and frustrated by numerous weird brake mounts across the industry Hope made it more confusing by creating another one themselves. At least this one is perpendicular to the axle so simple spacer can be used to change the disc size instead of hunting through boxes of old mounts to get the right one.

Confused and frustrated by numerous weird brake mounts across the industry, Hope arguably made it more confusing by creating another one themselves. At least this one sits perpendicular to the axle, so a simple spacer can be used to change the disc size instead of hunting through boxes of old mounts to get the right one.

Hope HB211

The rear brake caliper is a custom version of the Tech4. The bolts are neatly placed through the main bulk of the caliper instead of on tabs.

Some people may complain that Hope are creating more standards, but this bike is a package deal only. If you care about the fact that you can’t insert ‘Component X’ here or there, then you have missed the point of this bike.

The sections of the swingarm of the HB160 are now bonded together. This gives a cleaner finish and is also said to be a more accurate way to keep the bike aligned during manufacture.

Geometry

Hope said they wanted to stay on the conservative side of geometry rather than chasing the longer, lower, slacker, trend. That said, the numbers are still fairly progressive compared to a few 160mm travel machines that are lagging behind the times.

Build

There’s one build kit to choose from, and of course, it’s dominated by Hope. The suspension is from Fox via a 36 and Float X2, the dropper post is a Reverb from RockShox. The gear shifter, chain, and derailleur are XX1 11-speed from SRAM. The saddle is from Fabric and will be a custom Hope edition for the production bikes. Maxxis supply tires. Everything else is all from under one roof: grips, bar end plugs, handlebars, stem, top cap, headset and spacers, hubs, rims, cranks, seat clamp, chain guide, cranks, chainring, bottom bracket, hubs, cassette, and brakes – can any other brand boast this spread of product?

Hope hubs have gained a reputation as the benchmark over the years.

Hope hubs have gained a reputation as the benchmark over the years.

The Tech 35W rim is Hope s latest hoop. A 35mm internal width with a chunky cross section. This isn t simply a narrow rim that has been stretched to a super thin limit.

The Tech 35W rim is Hope’s latest hoop. A 35mm internal width with a chunky cross-section. This isn’t simply a narrow rim that has been stretched to a super thin limit.
The rims are the only component made in Taiwan, to Hope’s specification, as finding rim manufacturers in the UK is, well, basically impossible.

Hope brakes are a love hate affair.

Hope brakes are a separating subject, a love/hate affair with many riders.

Hope HB211

The rear brake caliper is a custom version of the Tech4 caliper.

Of course Hope spec their own Cranks chainring and specific HB211 chain guide.

Of course, Hope specs their own Cranks with 30mm axle, direct mount chainring, and specific HB160 chain guide.

The Hope handlebar is the second carbon component to come out of the Barnoldswick factory.

The Hope handlebar is the second carbon component to come out of the Barnoldswick factory.

Hope HB211 - First Look

Stem, top cap and spacers are all from Hope.

Suspension Design

The rear triangle of the HB211 is machined from aluminium.

Parts of the rear triangle of the HB211 are machined from aluminum, then bonded together with tubes.

Hope are open and admit that all suspension is a compromise, rather than marketing they have found a perfect solution. They went with a four bar, horst style link that provides fairly neutral characteristics all around. The only thing that isn’t neutral is a lot of progression that should work well with coil shocks or large volume air shocks with minimal spacers inside.

We headed to the Serre Chevalier region of France where the HB’s main engineer resides. Guillaume uses the epic alpine trails here as his local test bed, and what better place to get to grips with the bike.

The HB160 gets on with most tasks well, the geometry isn’t fully new-school, and of course, me being me, would say I would like a degree or two added to the seat tube and a couple knocked of the headtube, as well as a few more millimeters in the reach and chainstay. But that’s not the point. The geometry plays well with all types of riding and is comfortable enough for long days, climbing and descending nearly anything put in front of it.

Neutrality is key is key here as Hope themselves suggested was their goal. But after stating they wanted to stay on the conservative side of things, the HB160 is still more aggressive and capable than many bikes aimed at the same genre of riding.

The standout feature for me was the rear suspension; the back of the bike has amazing tracking characteristics across rough cambered ground and corners. The progressive suspension allows the pilot to take commanding and aggressive approach. Driving the HB into corners and through compressions is superb, and picking up speed is natural as the chassis spurs onwards.

We are looking forward to getting some more time on an HB160 on our regular test tracks, a bike that needs to be lined up against some potential rivals.

Pinkbike’s Take:

bigquotes The HB160 is more than a bike. It’s for a collector, a connoisseur, an enthusiast that wants a piece of history. It’s born from working man’s heart, soul, art, and life work. More importantly than the ride, it’s a joy to possess, admire, and show to your friends, and eventually your grandchildren when it’s hanging on a wall, pride of place.
Paul Aston


About the Reviewer
Stats: • Age: 31 • Height: 6’1” • Ape Index: +4″ • Weight: 75kg • Industry affiliations / sponsors: None • Instagram: astonator
Paul Aston is a racer and dirt-jumper at heart. Previously adding to the list of non-qualifiers at World Cup DH events, he attacked enduro before it was fashionable, then realized he was old and achy. From the UK, but often found residing in mainland Europe.

RankTribe™ Black Business Directory News – Arts & Entertainment

Former GOP Rep.: If Leaders Are Silent, ‘They Wear The Cap’

After the events of the last week, when violent clashes broke out at a white nationalist rally in Charlottesville, Virginia, and President Trump faced bipartisan repudiation for his responses, one former member of Republican leadership has warned that if political leaders stay silent on what’s happened, “they wear the cap.”

“Over the last seven months, there’s been ample opportunity to disagree with the president on many issues,” said former Republican Congressman J.C. Watts, who was previously the first African-American elected state-wide in Oklahoma, on Sunday’s “Meet The Press.”

“This is not a time for us to be afraid of being tweeted. This is not a time for us to suppress our convictions. I know a lot of those members of Congress and they don’t think like that,” he told host Chuck Todd, referring to white supremacists and the KKK.

“However, Chuck, if they are silent, they wear the cap, either intentionally or unintentionally, they wear the cap saying, ‘we agree with that.’”

First elected to Congress in 1995, Watts served in Republican House leadership as chair of the House Republican Conference from 1999 to 2003.

Although most political leaders released statements this week, no member of current Republican leadership in Congress or any member of the White House senior staff was willing to speak on this Sunday’s “Meet The Press.”

But Watts said he wanted to appear because his conscience would not allow him to keep quiet. All presidents, he explained, have what he calls “right now” moments, and Trump faced one of those after the events in Charlottesville, and did not respond in the right way.

“When circumstances like last weekend happen, I think we need moral clarity. A president speaks for himself, for his values and he speaks for those values, of those ‘right now’ moments and he speaks for the values of our country.”

Also on “Meet The Press,” Andrew Young, a pioneer of the civil rights movement, called this week “a week of misunderstandings.”

He attempted to place fault on economic discontent for why racism is seen in some white Americans.

“We originally sought to redeem the soul of America from the triple evils of race, war and poverty,” Young said of the civil rights era. “Most of the issues that we’re dealing with now are related to poverty. But we still want to put everything in a racial context.”

“The reason I feel uncomfortable condemning the Klan types is – they are almost the poorest of the poor,” he continued. “They are the forgotten Americans. And they have been used and abused and neglected. Instead of giving them affordable health care, they give them black lung jobs, and they’re happy. And that just doesn’t make sense in today’s world. And they see progress in the black community and on television and everywhere and they don’t share it.”

Young is a former United Nations ambassador, former Atlanta mayor, and former congressman from Georgia.

He said one of the goals of their civil rights work was to “lift everybody up together … so that we would learn to live together as brothers and sisters rather than perish together as fools.”

Trump is facing “a trap,” he said, because the president is still “politicking and thinking nationally, as a nationalist, and so is almost everybody else, including those who are trying to think back and blame it on the Civil War, which was hundreds of years ago.”

Last week, the president’s business advisory councils dissolved after multiple corporate leaders resigned. Watts on “Meet The Press” said he was disappointed that members of President Trump’s faith council also did not resign or speak out.

But he also indicated he isn’t sure whether President Trump is surrounded by anyone who could rightfully advise him on civil rights issues.

“I don’t know of anyone that’s in his inner circle that would be able to say to him, ‘Mr. President, when it comes to civil rights, when it comes to race issues, let me give you some hindsight, some insight, and some foresight ’ on these issues,” Watts said. “Now, he may have and he just doesn’t listen to them.”

Watts noted that the racial divide in America didn’t suddenly appear when President Trump was elected, or when President Obama was elected. However, since then it has “probably heightened and intensified.”

That said, he added, “we all have obligations to not put salt on the wound.”

Fayetteville troupe to open season with Fun Home

Fayetteville professional company TheatreSquared opens its 12th season Wednesday with Fun Home (music by Jeanine Tesori, lyrics and book by Lisa Kron, based on the graphic novel by Alison Bechdel) at Walton Arts Center’s Nadine Baum Studios, 505 W. Spring St., Fayetteville. The show runs through Sept. 17; curtain times are 7:30 p.m. Wednesday-Friday, 2 and 7:30 p.m. Saturday and 2 p.m. Sunday, with an additional 7 p.m. show Sept. 17.

The 2015 Tony Award-winner for best musical, which focuses on Bechdel’s childhood memories of playing with her brothers around the caskets in the family funeral home, contains adult language and mature themes, so the theater recommends it for audiences 13 and older.

Tickets are $17-$48; $10 for patrons under 30; $5 for recipients of SNAP benefits through the theater’s Lights Up! For Access program. Call (479) 443-5600 or visit the website, theatre2.org.

Rogers railroading

Model railroad displays in various gauges and sizes will be part of the Sugar Creek Model Railroad & Historical Society’s model railroad show, 10 a.m.-4 p.m. Saturday at the Rogers Historical Museum’s Education Annex, 120 W. Poplar St., Rogers. Admission is free. The show is part of Rogers’ annual railroad-centered Frisco Fest. Call (479) 621-1154 or visit rogershistoricalmuseum.org.

’18 art lineup

Crystal Bridges Museum of American Art, 600 Museum Way, Bentonville, will mount an exhibition with the working title “Georgia O’Keeffe and Contemporary Art,” May 26-Sept. 3, 2018, pairing “significant” works by O’Keeffe with pieces by contemporary artists Sharona Eliassaf, Monica Kim Garza, Loie Hollowell, Molly Larkey and Matthew Ronay. Visit crystalbridgesmuseum.org.

The rest of the museum’s 2018 lineup (all working titles):

• Feb.3-April 23: “Soul of a Nation: Art in the Age of Black Power,” organized by the Tate Modern, London, making its U.S. debut at Crystal Bridges, examining how the work of black artists during the 1960s-’80s reshaped American culture.

• Oct. 6. 2018-Jan. 7, 2019: “Native North America,” charting the development of contemporary indigenous art from the United States and Canada since the 1960s.

Messiah rehearsals

The Arkansas Choral Society starts rehearsals for the 2017-2018 season at 7 p.m. Sept. 11 (continuing at 7 p.m. Mondays) in the choir room of Calvary Baptist Church, 5700 Cantrell Road, Little Rock. (The church’s sanctuary building is actually a block up at R and Pierce streets.)

Fall rehearsals will point toward the society’s 87th annual performance of portions of George Frideric Handel’s Messiah, Dec. 1 with members of the Arkansas Symphony Orchestra at the church. The schedule also includes a fundraiser “pops” concert in February or March, and Wolfgang Amadeus Mozart’s Requiem April 27, with members of the Arkansas Symphony and the University of Arkansas at Monticello Concert Choir. Kent Skinner is the music director and conductor.

The chorus is open to all singers without auditions; membership dues are $50 per year plus the cost of music. Call (870) 820-9645 or visit lovetosing.org.

Ballet auditions

Western Arkansas Ballet will hold combined open auditions Sept. 23 for two ballets — its 32nd annual performances of P.I. Tchaikovsky’s The Nutcracker in December and Snow White (with music by various classical composers) in March — at its studio, 4701 Grand Ave., Fort Smith.

Candidates should be at least 6 years old with at least two years’ experience in dance and/or gymnastics; parts are also available for adults and boys with little or no dance experience.

Registration begins a half hour before the audition times — for girls ages 6-8, 10:30 a.m.-noon; 9-10, 12:30-2 p.m.; 11 and up, 2:30-3:30 p.m. For boys 6-8, 11 a.m.-noon; 9-10, 1-2 p.m.; 11 and up, 3-3:30 p.m. Wear appropriate dance clothing. Audition fee for both ballets is $40 ($20 is refundable if you are not cast); for one ballet, $30 ($20 refundable).

Nutcracker performances will be Dec. 16-17. Snow White will have two performances March 3. Call (479) 785-0152 or visit waballet.org.

Ballet season

Arkansas Festival Ballet will stage a full-length storybook ballet version of Beauty and the Beast, which Artistic Director Rebecca Miller Stalcup will choreograph primarily to music by Pierre Adenot and Alan Menken, May 18-20 at the Arkansas Arts Center Children’s Theatre in MacArthur Park, East Ninth and Commerce streets, Little Rock. They’ll hold auditions Nov. 11.

The rest of the 2017-2018 season:

• Dec. 9-10: Gian Carlo Menotti’s one-act opera Amahl and the Night Visitors and portions of The Nutcracker with the Conway Symphony Orchestra and conductor Israel Getzov, 7:30 p.m. Saturday, 3 p.m. Sunday, Reynolds Performance Hall, University of Central Arkansas, 201 Donaghey Ave., Conway. (Tickets: conwaysymphony.org.)

• Spring 2019, TBA: “Dance Melange,” a mixed-bill concert with guest Paula Weber, choreography by Kirt Hathaway, Mary Trulock, Katie Greer and Meredith Short Loy.

Call (501) 227-5320 or visit arkansasdance.org.

Jonesboro season

Jonesboro’s Foundation of Arts’ 2017-2018 season opener, Little Women (music by Jason Howland, lyrics by Mindi Dickstein, book by Allan Knee, based on the Louisa May Alcott classic), continues its run with shows at 7:30 p.m. Friday-Saturday at Stage Too, 328 S. Main St., Jonesboro. Tickets are $10.

The rest of the lineup (except as noted, shows are at 7:30 p.m. Friday-Saturday, Monday; 2 p.m. Sunday, The Forum Theatre, 115 E. Monroe Ave., Jonesboro; tickets: $17, $8 children 12 and younger, discounts available for senior citizens, college students and military):

• Sept. 8-11: A Raisin in the Sun by Lorraine Hansberry. $15, $8 age 12 and younger

• Oct. 21-24, 26-27: Peter Pan (music by Morris “Moose” Charlap, lyrics by Carolyn Leigh, additional music by Jule Styne, additional lyrics by Betty Comden and Adolph Green)

• Nov. 17-21: The Nutcracker (ballet)

• Dec. 15-19: A Charlie Brown Christmas, based on the television special by Bill Melendez and Lee Mendelson, stage adaptation by Eric Schaeffer, based on material by Charles M. Schulz

• Feb. 10-16: Seussical, music by Stephen Flaherty, lyrics and book by Lynn Ahrens, based on stories and writings of Dr. Seuss

• March 15-18: Exodus the Ballet, arranged and composed by Raphael Xavier, originally choreographed by Rennie “Lorenzo” Harris

• April 27-30: The Lion, the Witch, and the Wardrobe, by Joseph Robinette, dramatized from the stories of C.S. Lewis

• June 23-26, 28-30: The Producers, music and lyrics by Mel Brooks, book by Brooks and Thomas Meehan

Paintings and sculptures by Georgia O’Keeffe, including Jimson Weed/White Flower No. 1 — will be part of an exhibition with the working title “Georgia…

Paintings and sculptures by Georgia O’Keeffe, including Abstraction — will be part of an exhibition with the working title “Georgia O’Keeffe and Conte…

Season ticket packages are $65-$115. Call (870) 935-2726 or visit foajonesboro.org.

Style on 08/20/2017

RankTribe™ Black Business Directory News – Arts & Entertainment

Most moms aren’t putting babies to sleep safely, study says

(CNN) – Despite a 23-year campaign urging that babies be put to bed on their backs, only 43.7% of US mothers report that they both intend to use this method and actually do so all the time, according to a new study.

The Safe to Sleep campaign has been telling both caregivers and parents to use this position since 1994. Placing babies on their backs before they go to sleep reduces the risk of sudden infant death syndrome, an unexplained fatal condition also known as SIDS, as well as other sleep-related infant deaths like suffocation, according to the US Centers for Disease Control and Prevention.

The study, published Monday in the medical journal Pediatrics, surveyed 3,297 mothers, of whom 77.3% reported that they usually — but not always — put their babies to sleep on their backs.

“What was new and hadn’t been explored before was this idea of what people intended to do versus what they actually do,” said Dr. Eve Colson, professor of pediatrics at Yale School of Medicine and co-author of the study. “What we found was that people intended to put their baby on their back but didn’t always do that.”

Another finding was that those who felt the baby’s sleeping position was not up to them, but rather the baby or another family member, were more than three times as likely to place the baby on its stomach.

The two main critiques of back sleep were the fear that the baby might choke and that it’s less comfortable than having them sleep on their stomachs, Colson said.

These beliefs could be from lack of education, as well as cultural and familial influences, said Dr. Robin Jacobson, a pediatrician at Hassenfeld Children’s Hospital at NYU Langone Health, who was not involved in the study. Many prior generations had their babies sleep on their stomachs, she said.

“Grandmothers and aunts and everybody have told (mothers), if they have babies sleep on their bellies, they’re more comfortable; they’re not going to choke,” she said. “And because of that, a new mom who doesn’t really have a lot of information is using information from everybody else in their life.”

A racial disparity

The new research oversampled Hispanic and African-American women in order to make adequate comparisons across racial groups, the authors said. African-American mothers were reported to be the least likely to put their babies on their backs, compared with other demographics.

There were about 3,700 sudden unexpected infant deaths in the US in 2015, according to the CDC. SIDS account for 1,600 of those while 1,200 are due to unknown causes and 900 were due to accidental suffocation and strangulation while in bed. The sudden unexpected infant death rate of non-Hispanic black infants was 170.2 per 100,000 live births between 2011 and 2014, more than twice that of non-Hispanic white infants (83.8 per 100,000).

The elevated rate has a lot to do with societal norms, said Dr. Rachel Moon, a pediatrician who has studied SIDS in African-American communities.

“There’s very much a culture of putting babies on their stomach in an African-American community,” said Moon, who was not involved in the new study. “There’s a lot more dependence on grandmothers and other senior family members as trusted sources, and lots of times, the information that you get from your family members is more persuasive than what you get from physicians and other sources.”

Moon also said that parents perceive babies to be uncomfortable if they are frequently waking or crying while on their backs, so they let the child determine the sleeping position.

“I think the fact that parents don’t feel like they have control is something we can talk about,” she said. “It’s often the child that’s the queen or the king of the household. And I think parents often forget that they’re the adults of the household, and they can actually make decisions if they think they’re right for their children.”

Preventing SIDS

The latest guidelines from the American Academy of Pediatrics advise that parents sleep in the same room — but not the same bed — as infants until the child is at least 6 months old.

Babies should be placed on their backs on a firm sleeping surface with a tight-fitted sheet and no pillows or blankets, to prevent suffocation and overheating. They should never be put on couches, sofas or cushioned chairs to sleep.

But what’s the best way to ensure that everyone obtains access to this information?

The key is educating parents’ friends and families, facilitating open conversations about infant sleep and encouraging the media and advertisers to display images of safe sleep practices, according to an editorial accompanying the new study.

It also noted that health care providers should be consistently communicating clear messages about safe sleep guidelines.

“Every single health care provider needs to be saying the same thing,” Moon said.

The study found that those who received advice from their doctor consistent with the guidelines were less likely to place a baby on its side or stomach to sleep.

“You don’t really realize when you’re doing this day in and day out that moms really respect you and really listen to what you’re saying and even would agree with you over their own mother or somebody else in their life,” Jacobson said of doctors. “So I definitely think this needs to be publicized again in the American Academy of Pediatrics and with pediatricians to really push the Safe to Sleep program.”

Most moms aren’t putting babies to sleep safely

One more thing we love about Issa Rae: How “Insecure” showcases black artists

The second season of Issa Rae’s groundbreaking HBO comedy “Insecure” is amazing for a number of reasons. The characters are complex and funny, the story lines are hilarious, and Rae is brilliant at showing so many sides of blackness, something that so many shows fail to do. Rae also does something else through her show that is much needed in the art world: she’s launching careers and providing platforms for other artists.

I remember when I first started out as an artist, running around as a writer and a photographer. Writing was the passion but photography paid the bills. I’d rip through the city shooting anything and everything, and eventually the word got out that I was cheap and pretty decent, so I started booking steady hood gigs: weddings, rap album photo shoots and parties, mostly. I even shot a funeral once.

As my reputation grew, I started getting bigger gigs. One was for a popular writer. I shot all of his events — I even did some for free, just for the opportunity to meet people in the publishing world. In between gigs I’d share my writing ambitions with him and he’d give some good insights, but he never offered any connections, not even for the opportunities he didn’t want. The same thing happened with my photos — he’d post my images, but would never credit me as the photographer.

Sometimes I’d say to him, “Yo, give me credit on my pics. I’m trying to get some money!”

And he’d say, “My apologies, bro, I got you!” before posting my name — without my social media handle. I quickly realized that he had no interest in promoting anyone other than himself.

I didn’t let his actions make me bitter. Instead, I told myself that if I ever made it, I’d use my platform to help promote other artists. I’ve been doing that from the moment I became fortunate enough to travel to promote my work, and watching Issa do it on Insecure has given me more hope.

We are barely halfway through the season and I’ve already noticed Rae using her HBO platform to plug the amazing artwork of Derrick Adams by showcasing his work in a Los Angeles gallery. The show has used music from Baltimore’s talented hip hop musician TT The Artist, and showcased the cover of Angela Flournoy’s award-winning book “The Turner House.” All of these people are gifted and experiencing success; however, that push from “Insecure” will definitely help increase their profiles and grow their audiences, which could ultimately take their careers to the next level.

I hope more influential artists with large platforms follow her lead. Rae is proving that we all can win, especially if we help each other.

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