R. Kelly Found Guilty in Decades-Long Sexual Abuse Scheme

R. Kelly, the multiplatinum R&B artist whose musical legacy became intertwined with dozens of accusations of sexual abuse, was found guilty on Monday of serving as the ringleader of a decades-long scheme to recruit women and underage girls for sex.

The jury in New York deliberated for about nine hours before convicting the singer of all nine counts against him, including racketeering and eight violations of an anti-sex trafficking law known as the Mann Act.

The decision represents the first criminal punishment against Mr. Kelly despite a trail of allegations of misconduct that extends for more than a quarter-century. His six-week trial exposed a harrowing system of trauma and abuse, commanded by the singer and enabled by his associates.

Mr. Kelly, 54, once one of the biggest names in popular music, now faces the possibility of life in prison, capping a remarkable reversal of fortune. As the verdict was read, he sat motionless in the courtroom, wearing a navy blue suit and glasses, with his facial expression hidden behind a mask.

To many observers, Mr. Kelly’s case represented a critical test of the inclusivity of the Me Too movement, which seeks to hold influential and powerful men accountable for sexual misbehavior. Never before in a high-profile Me Too-era trial had the large majority of the accusers been Black women.

Jacquelyn M. Kasulis, the acting U.S. attorney in Brooklyn, told reporters that the verdict sent a powerful message to men like Mr. Kelly.

She thanked the 11 men and women who accused him of misconduct at the trial.

“No one deserves what they experienced at his hands or the threats and harassment they faced in telling the truth about what happened to them. We hope that today’s verdict brings some measure of comfort and closure,” Ms. Kasulis said.

As he left the courtroom on Monday, one of Mr. Kelly’s lawyers said his defense team would consider an appeal.

“Of course we are disappointed in the verdict,” the lawyer, Deveraux L. Cannick, said as he walked through the courthouse. “I am even more disappointed in the prosecution for bringing this case,” he said, adding that it was “replete with inconsistencies.”

Mr. Kelly once stood atop the realm of R&B music, catapulting himself into an international sensation in the 1990s and 2000s on the success of hits like “I Believe I Can Fly.”

But as the Me Too movement continued to gain steam, cracks in his armor began to show, as new women and their families came forward, a protest campaign was waged to boycott his music and a jarring documentary delved into the accusations around him. The image he once crafted as an alluring sex symbol and genre-redefining lyricist collapsed in the public eye.

The trial marked a significant milestone, as women and men took the stand against the singer to accuse Mr. Kelly of sexual abuse for the first time, including several who had never shared their accounts publicly.

On Monday, several women who said Mr. Kelly had abused them praised his conviction as a decades-in-the-making rebuke of the singer and a meaningful validation of the stories of his victims.

“Today, my voice was heard,” Jerhonda Pace wrote on Instagram. Ms. Pace became the first accuser to ever testify against Mr. Kelly at a criminal trial when she took the stand last month.

Oronike Odeleye, the co-founder of the #MuteRKelly campaign, said the conviction was the result of accusations that took years to be heard.

“This is the culmination of the movement of so many women who have been trying so long to have their voices heard,” Ms. Odeleye said. “We have never had full ownership of our bodies. And we’re at a moment where Black women are no longer accepting that as the price of being Black and female in America.”

The verdict came after the government constructed a sweeping case against Mr. Kelly, with evidence that extended from recent years back to the early 1990s.

Federal prosecutors chronicled a dark journey in the career of the singer, whose real name is Robert Sylvester Kelly. He was embraced as a hometown success story in Chicago as he overcame a low-income upbringing filled with struggles.

But his eminence assured him he was untouchable, prosecutors said, and as he gained immense access to young fans, Mr. Kelly became a criminal mastermind who used a universe of enablers and sycophants in his orbit to ensnare women, girls and boys.

The prosecution called 45 witnesses during the trial, but the criminal charges against the singer hinged on accusations related to six women, five of whom testified (the sixth, the singer Aaliyah, died in a plane crash in 2001).

Four additional women and two men also took the stand as accusers. And though none of their claims were included in the indictment, they helped bolster the government’s arguments, often telling jurors that their encounters with the singer were marred by sexual, physical or emotional abuse from him.

Throughout the proceedings, the result of Mr. Kelly’s only other criminal trial, in 2008, stood in mind for many observers. Prosecutors in Chicago had argued that a videotape showed him having sex with and urinating on an underage girl. But he was acquitted of all 14 counts against him after the girl at the center of the case declined to testify.

The singer’s career flourished afterward with successful record sales and a consistent flow of collaborations with superstars. But in recent years, his musical repertoire was largely expunged from the radio and public spaces, a fate that would likely persist with his conviction.

The government was barred from detailing his previous case. But witnesses depicted an offender who was emboldened by his initial absolution — and whose behavior grew increasingly more brazen and disturbing in the years that followed.

Cheerful fans saluted Mr. Kelly when he was cleared of wrongdoing in his Chicago trial. But only a small band of supporters was gathered outside the Brooklyn courthouse on Monday, where they streamed his music after the verdict was announced.

Mr. Kelly also faces a federal trial in Chicago on child pornography and obstruction charges, and additional state sex crime charges in Illinois and Minneapolis.

Kim Foxx, the top prosecutor in Chicago who announced state sex crime charges against Mr. Kelly in 2019, said the conviction was “monumental” for the Me Too movement and sent a significant message about whose stories mattered.

“It is my hope that through this trial and the toll that it has taken to get to this point, that we recognize that the movement is not at its fullest strength if everyone doesn’t have equal access to justice,” she said.

In New York, the racketeering charge was viewed by some as an unusual and potentially precarious approach. But the statute, which has commonly been used to take down mob organizations, was recently employed successfully against the Nxivm sex cult.

Mr. Kelly’s defense team said that the racketeering charge itself was flawed and unfounded, arguing that he had run nothing more than a successful music business. But the government’s case was expansive.

The charge was built around 14 underlying crimes that he was accused of committing as part of his criminal enterprise; only two of them needed to be proven to convict.

Mr. Kelly declined to testify in his own defense. But his lawyers aimed to cast his accusers as opportunists, liars and obsessive fans, arguing their sex with the singer had been consensual, and their accounts of abuse and misconduct fabricated. They evoked images of him as an altruistic romantic partner who regarded the women around him as family, treated them “like gold” and was blindsided by their allegations.

And they warned that the accounts of his accusers had been too inconsistent over time to believe.

“Getting a conviction of R. Kelly is a big deal,” Mr. Cannick said in his summation, invoking Martin Luther King Jr. in an attempt to argue that if the jurors acquitted Mr. Kelly, they would be demonstrating the sort of courage that defined the civil rights movement. “What’s a bigger deal is a system we can trust.”

But federal prosectors argued that a conviction would demonstrate that even the biggest stars were not untouchable by the law.

“The defendant’s victims aren’t groupies or gold diggers. They’re human beings,” Nadia Shihata, an assistant U.S. attorney, said at the end of the trial. “Daughters, sisters, some are now mothers. And their lives matter.”

The seven men and five women of the jury, whose ages and races were unclear throughout the trial, ultimately sided with their position. The group remained anonymous to the public and to lawyers at both tables in the courtroom.

It featured an enormous pile of evidence, including text messages that showed the real-time worries that some of Mr. Kelly’s employees shared about his treatment of women and several video and audio recordings, some of which appeared to depict the singer violently assaulting a woman and threatening her life.

Still, the focal point of the case was its slate of witnesses, who told jurors the singer’s public persona served to disguise his true intentions.

Among them were friends and family members of the singer’s accusers; eight of his former employees; the minister who presided over his union to Aaliyah; a doctor who treated him for herpes over more than a decade; and a host of investigators involved in his initial arrest in Chicago.

The trial itself represented a peculiar spectacle of the current moment.

It was first scheduled for May 2020. But the pandemic delayed the start date for 15 months. And members of the public and the media were not granted access to the primary courtroom out of safety concerns; they were required to watch the proceedings through closed-circuit video in overflow rooms.

Decades before the trial began, Mr. Kelly’s marriage to Aaliyah in 1994, when she was 15 and he was 27, was among the first revelations to bring substantial public scrutiny to his encounters with underage girls. The racketeering case allowed prosecutors the flexibility to introduce decades-old evidence, including details related to Aaliyah, an R&B prodigy whose full name was Aaliyah Dana Haughton.

One of Mr. Kelly’s former tour managers confirmed a long-rumored tale that he bribed a government employee to get a fake identification for Aaliyah so the wedding could go forward, because Mr. Kelly feared that she was pregnant and that he could be prosecuted for statutory rape.

Another woman, Stephanie, told jurors that the singer began sexually abusing her when she was 17, after he told her that he liked “young girls” and that he did not understand why society viewed that as a problem.

And a cascade of witnesses described a repressive system of restrictions that the women and girls around Mr. Kelly were forced to abide by — from a directive to address him as “Daddy” to requirements to obtain his permission to eat or use the bathroom.

They said that when the rules were broken, the singer doled out harsh and startling punishments, from skin-tearing spankings to forcing one woman to smear feces on her face and eat it.

Mr. Cannick, the lawyer for Mr. Kelly, argued that the accounts were works of fiction and argued to jurors that the verdict carried deep implications for broader ideals of justice and fairness.

But Elizabeth Geddes, an assistant U.S. attorney, told the panel that their decision would serve to hold the fallen superstar accountable for the decades of pain and torment he inflicted.

“For many years, what happened in the defendant’s world stayed in the defendant’s world,” Ms. Geddes said in her closing argument. “But no longer.”

Emily Palmer and Rebecca Davis O’Brien contributed reporting.

RankTribe™ Black Business Directory News – Arts & Entertainment

Documentarian Patricia Yáñez making the world a better place though film

PHILADELPHIA (WPVI) — In a spare bedroom in her South Philadelphia rowhome, Patricia Yáñez is working on a half dozen documentaries on everything from the plight of the bumblebees to profiles of creative people like Philadanco Founder Joan Myers Brown and artist Leroy Johnson.

“If money were no objection, I want to do documentaries of everything,” Yáñez says.

She is the head of Creative Synergy Media, a company she founded in 2016.

“We want to highlight creatives,” Yáñez says, “I feel like that’s the contribution that we can do is just pass the mic or, you know, shine the light.”

Yáñez was born in 1974, in New Jersey, a year after the Chilean coup that put military dictator Augusto Pinochet in power.

When she was 4, her parents moved her and her three siblings back to Chile where they lived under dictatorship until 1990 when Pinochet stepped down.

“I’m the first generation of film directors in Chile after the dictatorship,” says Yáñez, who attended Duoc UC, an institute that is part of a very prestigious university in Chile. “Most of my professors lived in exile,” Yáñez says.

She graduated just after the 9/11 attacks and a sister, who’d moved back to America, convinced her to do the same.

“I remember looking at this passport, and realizing I can come to the United States whenever I want and just work.” Yáñez says. She’s been a Spanish teacher in the Glassboro School District ever since.

Making documentaries is her side passion.

“I now know what I want to be when I grow up,” Yáñez jokes.

She works with an Argentinian editor who lives in Panama and collaborates with a screenwriter in Chile, the professor who taught her the craft.

“So we do a lot of Zooms,” Yáñez explains.

She took out a loan to finance her work and just got a grant from the city of Philadelphia. She’s about to release her first finished documentary called Hear, Philly.

“It’s basically a playlist,” Yáñez says, “mostly Bach pieces performed by students, one instrument at a time.”

When considering topics to tackle, she says she’s looking for problems that need to be solved.

“Music education and preservation of classical music, I think is important. Saving the bees is important,” she says, “honoring and paying tribute to someone like Leroy Johnson.”

Johnson is an 84-year-old African American artist in Philadelphia that Yáñez feels strongly “we in Philadelphia should know about; we should study him.”

“I just very organically see a need and just go with it,” she says. “I can’t help it…I just want to be part of a solution of something and make a contribution.”

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Black Art Matters: the meaning behind the red carpet jacket

A few weeks ago, Alexandria Ocasio-Cortez’s Brother Vellies dress spearheaded the return of political slogans on the red carpet. The inherent contradiction of wearing a Tax the Rich ballgown at the Met Gala – one of the most opulent events in the world – made the garment divisive, but also spoke to its power as an incredibly potent piece of political dressing.

Last night, the Broadway actor Chester Gregory wore a jacket from the Los Angeles-based label Rare Loyalty & Trust, with the words “Black Art Matters” on the back. Topped with a Basquiat-like crown, the pithy slogan worked in a similar way to Ocasio-Cortez’s dress. In the context of the Tony awards ceremony, which celebrates Broadway, it cut to the heart of the issue of representation (a survey from 2020 found that just 20% of theatre in New York was created by people of colour). “We wanted to make a bold, elegant, timeless statement,” says Rare Loyalty & Trust’s Tony Jones. “There are traces of black innovators in most art you see in any industry nowadays.”

The jacket also referenced a specific movement that fought against under-representation of black people and people of colour in cultural spaces.

Alexandria Ocasio-Cortez and the designer Aurora James arrive at the Met Gala.
Alexandria Ocasio-Cortez and the designer Aurora James arrive at the Met Gala. Photograph: John Angelillo/UPI/REX/Shutterstock

“The Black Art Matters movement is really a continuation of the Black Arts Movement that was started in the US by a group of politically motivated black writers, artists and musicians,” explains the artist and activist Annis Harrison. “It has its roots in New York, but also involved other cities such as Detroit, Chicago, Michigan and many more.”

Harrison says that the movement migrated to the UK in the 80s, making Wolverhampton its home and was re-cast as the British Black Arts Movement. “The most important exhibition that came out of this movement was The Other Story, which was shown at the Hayward Gallery in 1989,” she says. “The show was curated by Rasheed Araeen and brought together artists of black African, Caribbean and Asian heritage.” Artists who took part included Lubaina Himid, Hassan Sharif and Sonia Boyce.

Chester Gregory on the red carpet at the Tony awards.
Chester Gregory on the red carpet at the Tony awards. Photograph: Evan Agostini/Invision

Despite the death of George Floyd, the Black Lives Matter movement and the pandemic giving people pause to think about race, Harrison says that the Black Art Matters movement is as important as ever. “We need to make sure that the historical artwork [by black artists and people of colour] are out on display,” she says. This is so that “the next generation of inspirational young black and artists of colour and the general public can see the true history of the contributions of black and artists of colour to the UK’s art canon”. Representation extends to black artists on curriculums and more black faces lecturing in universities and curating galleries, she says.

Harrison says the visibility of Gregory’s red carpet suit is important. “I feel that it’s a good thing to place the statement Black Art Matters on a suit at this very public event,” she says, because “black art is in danger of being forgotten once again”.

As Gregory wrote on Instagram: “Now that the world is slowly opening back up, we can’t ever forget the work that needs to be done to ‘redesign the room’.”

RankTribe™ Black Business Directory News – Arts & Entertainment

Supporters of famed artist Pearl Fryar rally to save his topiary garden in Bishopville

BISHOPVILLE — Supporters of South Carolina beloved horticulturist Pearl Fryar are rallying the community to help save his topiary garden in Bishopville.

The famed self-taught artist is known for his living sculptures, and at one point had nearly 10,000 people visit his home garden each year. 

The 4 acres filled with living sculptures is still open to the public today, but Fryar has experienced serious health challenges that prevent him from maintaining it like he once did. 

A grant awarded through the Central Carolina Community Foundation has funded an artist-in-residence, Mike Gibson, who is working to restore the garden. But supporters — including the McKissick Museum at the University of South Carolina, Atlantic Botanical Garden, The Garden Conservancy in New York and the WeGOJA Foundation in Hartsville — want to do more.

The McKissick Museum will host a listening session at 5:30 p.m. Sept. 28 at the Lee County Parks & Recreation building in Bishopville to gauge how the community would like to see the long-term preservation of the garden.

driveway pearl fryar.jpg (copy)

Pearl Fryar and his topiary garden, with sculpted yaupon hollies clustered in the center of his driveway, have helped Bishopville become a destination for visitors. File/Staff 

The museum’s executive director, Jane Przybysz, said part of the supporting organizations’ plan is to go to the Mellon Foundation in search of additional funding. The foundation is one of the country’s largest supporters of the arts and humanities. 

The foundation has committed to give $250 million to fund initiatives that are publicly oriented and promote stories that are not already represented in commemorative spaces, the website said. The project will support monuments, memorials and historic storytelling places. 

Przybysz said supporters of Fryar want to make the case to the Mellon Foundation that the Pearl Fryar Topiary Garden should become a monument to African American resilience, creativity and shaping the American landscape. 

Fryar grew up as the son of a sharecropper in Clinton, N.C. His creativity was apparent since he was young, and he was often punished for “cutting up things,” Fryar said in an interview in 2017. 

Upon returning from service with the military in Korea, Fryar moved to New York and worked a job at a bottling company that eventually relocated to the Pee Dee. He had to deal with an array of racial prejudices and discrimination at work and in Bishopville, he said. 

When he started his garden in 1981, Fryar only had one goal: winning the local garden club’s “Yard of the Month” award. That grew into a famed topiary garden, a demand for him to give talks and offer expertise in workshops, plus numerous awards and accolades. 

talk pearl fryar.jpg (copy)

From the seat of his John Deere Gator, Pearl Fryar has answered questions from countless visitors coming to his topiary garden in Bishopville. File/Staff

Fryar and his garden have been featured by The New York Times and on “The Martha Stewart Show” and “CBS Sunday Morning.”

“We’re very excited about this, about the possibilities, and it will take more than a village to make this happen,” Przybysz said about plans to sustain the garden. “So all the public support and good energy coming this project’s way is much appreciated.”

Gibson, a topiary artist from Youngstown, Ohio, moved his family to South Carolina about two weeks ago to tend to Fryar’s garden. He has his own topiary business and was one of several artists to compete on HGTV’s “Clipped,” a topiary showdown that airs on the Discovery+ streaming platform. 

In a way, this move for Gibson brought his love for topiary full circle as he often studied the work of Fryar and other Black artists.

“Yes, I may have been doing reality TV, and I had a name for myself in Youngstown, but I stopped everything I was doing to come help Pearl,” Gibson said. 

There are more than 500 sculptures in the garden. Gibson said there is a lot of work to be done as it is apparent the garden has been neglected for some time. 

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RankTribe™ Black Business Directory News – Arts & Entertainment

Artist Alison Saar on why she gives power to the Black female body

One of the most searing artistic experiences I’ve ever had came courtesy of Alison Saar in 2017. The Los Angeles artist was part of a group show of Black female sculptors titled “Signifying Form” at the Landing gallery in L.A.’s West Adams district, organized by independent curator jill moniz.

The show was memorable all around. But Saar’s piece, in particular, floored me. The nearly 7-foot-tall sculpture titled “Cake Walk,” from 1997, presented a larger-than-life marionette of a Black woman that the viewer can control via a system of pulleys. The title references a processional dance that originated on Southern plantations during the slavery era and would later be parodied by white performers in minstrel shows. In Saar’s piece, a firm tug on the pulleys could make the figure dance.

A close-up view on the torso shows a wooden sculpture of a large-scale marionette puppet of a Black female figure

A detail from Alison Saar’s 1997 sculpture “Cake Walk,” on view at the Landing in 2017.

(Carolina A. Miranda / Los Angeles Times)

On the one hand, it’s an irresistible work. Saar invites the viewer to touch a work in a place where touch is usually forbidden. It’s also one that left me feeling queasy. To engage the marionette is to engage the manipulation of a vulnerable Black woman’s body (she is nude). It is also to engage a whole legacy of manipulation and control over Black women.

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It’s a piece I haven’t stopped thinking about since — just like I haven’t stopped thinking about many of Saar’s other potent works: sculptures, drawings and paintings of Black female figures who may be vulnerable, yet are also intent on reclaiming their agency. In a 2018 solo show at her longtime gallery, L.A. Louver, the artist created a series of works inspired by the character of Topsy from Harriet Beecher Stowe’s “Uncle Tom’s Cabin,” which took the stereotypical uncivilized wild child from the book and transformed her into a potent symbol of Black female force.

There is a lot more where that came from. And some of it is on view in an ongoing two-part survey, “Alison Saar: Of Aether and Earthe,” at the Armory Center for the Arts in Pasadena and the Benton Museum of Art at Pomona College. Sadly, “Cake Walk” is not on display, reflecting the need for a comprehensive retrospective devoted to this important artist. But the shows nonetheless offer a broad overview of Saar’s work, which, in deft and profound ways, has engaged myth, spirituality, history and the physical and psychological states of women.

Saar, 65, who is mixed race, hails from artistic lineage. Her mother is Betye Saar, an icon of the Black Arts Movement, and her father, Richard Saar, who died in 2004, was a ceramicist and conservator. Now that her two children with husband Tom Leeser (also an artist) are grown, Alison says she has found her art evolving.

“The work started becoming more political,” she says over a cup of tea in her Laurel Canyon home. “The work was always political, but with Black Lives Matter, more so.”

This month, Saar added an outdoor sculpture to her show at the Armory: “Catfish Dreamin’,” which resuscitates an early public work that she first staged in Baltimore in 1993. The installation is accompanied by an online component, which features digital works by her and other artists that draw from watery themes. In addition, Saar has been busy organizing a group show, “SeenUNseen,” which will land at L.A. Louver in November and focus on artists, she says, who serve as “mediums with the spirit world.” All of this is in addition to the public commission she is working on for Destination Crenshaw, a monument to the culture of the neighborhood.

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In this conversation, which has been condensed for space and clarity, Saar talks about how being a mother has been formative to her art, why touch is vital and what sorts of magic she thinks we could all use right now.

Alison Saar, seated in a chair, smiles as her fuzzy dog Crumb makes an appearance in the foreground of a picture

Alison Saar’s dog Crumb makes an impromptu appearance in a portrait session with the artist.

(Christina House / Los Angeles Times)

RankTribe™ Black Business Directory News – Arts & Entertainment

Maui Crime Sept. 12-18, 2021: Burglaries, Break-ins, Thefts

September 26, 2021, 8:27 AM HST
* Updated September 26, 8:28 AM

Maui police responded to seven burglaries, 12 vehicle thefts and 18 vehicle break-ins in Maui County over a seven day period from Sept. 12 to 18, 2021.

The percentage of burglary cases decreased 30% from the week before when 10 incidents were reported. Vehicle thefts neither increased nor decreased from the week before when 12 incidents were also reported. Vehicle break-ins increased 260% from the week before when five incidents were reported.

Below is a complete list of incidents and the time and locations of when and where each occurred.

7 Burglaries

Hāna:

  • Friday, Sept. 17, 3:17 a.m.: 5000 block of Hāna Highway, Hāna. Residential, unlawful entry.

Kīhei:

  • Sunday, Sept. 12, 5:18 p.m.: 12 South Kīhei Road, Kīhei at Māʻalaea Surf Resort. Non-residential, unlawful entry.
  • Monday, Sept. 13, 11:45 a.m.: 34 Hauwahine Lane, Kīhei at Ke Alii Ocean Villas. Non-residential, forced entry.
  • Wednesday, Sept. 15, 3:09 a.m.: 1215 South Kīhei Road, Kīhei at Longs Kīhei. Non-residential, forced entry.

Lānaʻi:

  • Monday, Sept. 13, 12:11 p.m.: 555 Fraser Ave., Lānaʻi at Lānaʻi High and Elementary School. Non-residential, unlawful entry.

Nāpili:

  • Tuesday, Sept. 14, 12:33 a.m.: 3700 block of Lower Honoapiʻilani Road, Nāpili. Residential, unlawful entry.

Wailuku:

  • Wednesday, Sept. 15, 7:28 a.m.: 51 N Market St., Wailuku. Non-residential, unlawful entry.

12 Vehicle Thefts

Kahului:

  • Wednesday, Sept. 15, 11:54 p.m.: 110 Hāna Highway, Kahului at Island Honda. Toyota, silver.
  • Wednesday, Sept. 15, 2:29 p.m.: 424 Dairy Road, Kahului at Kmart. Honda, black.
  • Friday, Sept. 17, 11:06 a.m.: 70 E Kaʻahumanu Ave., Kahului at Longs Drugs Kahului. Toyota, silver.
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Kapalua:

  • Monday, Sept. 13, 7:34 a.m.: 13800 Kahekili Highway, Kapalua at Nākālele Point. Chevrolet, silver.
  • Friday, Sept. 17, 3:38 p.m.: 13200 Honoapiʻilani Highway, Kapalua at Slaughterhouse Beach. Nissan, black.
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Kīhei:

  • Sunday, Sept. 12, 10:39 a.m.: 715 South Kīhei Road, Kīhei at Kīhei Bay Surf. Ford, white.
  • Sunday, Sept. 12, 12:26 p.m.: 1-100 Manaʻo Kālā St., Kīhei. Toyota, blue.
  • Monday, Sept. 13, 7:20 a.m.: 1-100 Apuhihi Lane, Kīhei. Chevrolet, white.
  • Tuesday, Sept. 14, 8:40 p.m.: 1-100 W Welakahao Road, Kīhei. Lexus, silver.

Waiheʻe:

  • Monday, Sept. 13, 5:15 p.m.: 10800 Kahekili Highway, Waiheʻe at Makamakaʻole Gulch. Jeep, white.

Wailuku:

  • Tuesday, Sept. 14, 11:58 p.m.: 600 block of Meakanu Lane, Wailuku. Toyota, white.
  • Wednesday, Sept. 15, 10:40 p.m.: 608 Alihilani St., Wailuku at Waiehu Terrace Park. Toyota, brown.

18 Vehicle Break-ins

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Hoʻolehua:

  • Thursday, Sept. 16, 1:18 p.m.: 2600 block of Lihi Pali Ave., Hoʻolehua. Ford, red.

Kahului:

  • Sunday, Sept. 12, 3:18 p.m.: 1-100 Vevau St., Kahului. Nissan, red.
  • Monday, Sept. 13, 9:04 a.m.: 100 block of Kāne St., Kahului. Toyota, gold.
  • Tuesday, Sept. 14, 7 a.m.: 500 block of Haleakalā Highway, Kahului. Ford, white.
  • Tuesday, Sept. 14, 7:10 a.m.: 700 block of Lālanai Circle, Kahului. Honda, silver.
  • Thursday, Sept. 16, 11:01 p.m.: 1 Lānui Circle, Kahului at Kahului Airport. Mitsubishi, white.

Kīhei:

  • Sunday, Sept. 12, 7:29 p.m.: 100 block of Uwapo Road, Kīhei. Mazda, black.
  • Monday, Sept. 13, 8:09 a.m.: 1-100 Keala Place, Kīhei. Yamaha, black.
  • Monday, Sept. 13, 1:49 p.m.: 100 block of North Kīhei Road, Kīhei. Honda, black.
  • Monday, Sept. 13, 2:39 p.m.: 202 Lalo St., Kīhei at Dorvin Leis Co. Honda, green.
  • Monday, Sept. 13, 3:17 p.m.: 2100 block of South Kīhei Road, Kīhei. Honda, blue.
  • Monday, Sept. 13, 3:18 p.m.: 400 block of Kenolio Road, Kīhei. Genuine, red.
  • Monday, Sept. 13, 11:37 p.m.: 96 Kio Loop, Kīhei at Kīhei Rent A Car. Nissan, tan.
  • Wednesday, Sept. 15, 7:58 a.m.: 100 block of Manino Circle, Kīhei. Diax, blue.
  • Thursday, Sept. 16, 1:08 a.m.: 800 block of South Kīhei Road, Kīhei. Nissan, silver.

Māʻalaea:

  • Monday, Sept. 13, 7:21 a.m.: 1-100 Hauʻoli St., Māʻalaea. Honda, white.

Nāpili:

  • Monday,Sept. 13, 5:04 p.m.: 5095 Napilihau St., Nāpili at Nāpili Market Plaza. Toyota, silver.

Wailuku:

  • Tuesday, Setp. 14, 10:27 a.m.: Ilina St. / Vineyard St., Wailuku. Mazda, red.

RankTribe™ Black Business Directory News – Arts & Entertainment

Art Fair On The Square returns to the square

MADISON, Wis. — Tens of thousands of people made their way to Capitol Square today as the Art Fair on the Square made a successful return to the sidewalks. Last year’s fair had to be held virtually due to the pandemic, and organizers and artists alike say the return to the outdoor environment is a breath of fresh air.

“I think it’s a really, really good feeling to offer this to the community of Madison,” said Madison Museum of Contemporary Art’s Communications Director, Marni McEntee. “It brings the community together, it gives them something beautiful to look at.”

Among many artists showcasing their work downtown today was Lilada G. G has been doing art since she was young, and for her, it’s a source of healing.

 “As a girl, I drew art alot and it was really reaching me at a point in time where I was going through a lot of trauma,” said G. “Those are just some positive ways of getting the message out there that you matter, that we see you, and you’re beautiful.”

G’s art primarily focuses on uplifting Black women and girls, something she says society is in dire need of.

“The bottom line of my message is really about defending Black girlhood,” said G. “When we see the growing numbers of Black girls who are going missing and they are not getting media attention, I’m hoping that my art just reminds them that these girls are out there and they need our attention.”

G says that it’s her goal to be visible and inspire other Black artists.

“I grew up in Madison and I did not grow up seeing Black artists at the art fair, said G. “I’m very proud to be here, and I’m hoping its a pathway for other Black artists to get involved”

Diversity in art is a message MMOCA support with this event.

“The art fair is something different for everyone,” said McEntee.

MMOCA’s website lists the artists participating in this weekend’s fair, along with their designated areas for easy access.

RankTribe™ Black Business Directory News – Arts & Entertainment

NM Grapples with Indian Boarding School Legacy

COVID-19 by the numbers

On Friday, New Mexico health officials reported 714 new COVID-19 cases, bringing the statewide total so far to 248,788. DOH has designated 218,310 of those cases as recovered. Bernalillo County had 199 new cases, followed by Eddy County with 48 and San Juan County with 47. Santa Fe County had 35 new cases.

The state also announced 14 additional deaths, 12 of them recent; there have now been 4,749 fatalities statewide. As of Friday, 314 people were hospitalized with COVID-19, 46 fewer than the day prior. DOH is expected to provide a three-day update this afternoon on cases, hospitalizations and fatalities.

Currently, 79.7% of New Mexicans 18 years and older have had at least one dose of a COVID-19 vaccine and 70.2% are fully vaccinated. In the 12-to-17-year-old age group, 63.4% people have had at least one dose and 53.7% are fully inoculated. In Santa Fe County, among those 18 years and older, 90.5% have had at least one dose and 80.4% are fully vaccinated.

You can read all of SFR’s COVID-19 coverage here.

NM DOH will release booster plan this week

By the end of October, 70% of New Mexicans who received a full series of the Pfizer-BioNTech COVID-19 vaccine will be eligible for booster shots. The state health department on Friday announced that the state’s Medical Advisory Team had reviewed and endorsed the Centers for Disease Control and Prevention recommendations for the booster for that vaccine. Those guidelines state anyone who had the Pfizer vaccine at least six months ago and is: 65 years and older; a resident in a long-term setting; or 50 to 64 years old with certain underlying medical conditions should receive a booster. In addition, people 18 to 49 who are at high risk for severe COVID-19 due to certain underlying medical conditions may receive a booster at least six months after completing the primary series, as may people 18 to 64 years old who are at increased risk for COVID-19 exposure and transmission because of their occupational or institutional settings. DOH says it will release plans early this week on how eligible New Mexicans can schedule their booster shots; only people who received a Pfizer vaccine are eligible at this time and neither the CDC nor DOH recommend mixing vaccines.

NM grapples with boarding school legacy

National reckoning with the United States’ troubled legacy of federal boarding schools came home over the weekend, as city and Native American leaders gathered in Albuquerque Saturday at a memorial event for those buried at the Albuquerque Indian School Cemetery at 4-H Park. A plaque memorializing the students disappeared earlier this year; now, Albuquerque city officials plan to use ground-penetrating radar to research the area, and to mark the park with orange flags—the color designated to symbolize the movement. “This is important because we have an opportunity to learn and understand from our collective history and make meaningful change,” Rebecca Riley, who is from Acoma Pueblo and serves on the city’s Commission on American Indian and Alaska Native Affairs, says. “We deserve to understand the truth, determine our steps forward, and owe the Native children and staff who never returned home to do better.” Santa Fe also has a history with such boarding schools: the Santa Fe Indian School on Cerrillos Road, which is now run by the 19 Pueblo Governors of New Mexico rather than the federal government; and the Ramona Indian School and St. Catherine Indian School, which are long closed. While there are reportedly vague rumors of unmarked graves on these sites, no known evidence exists at this time.

State reaches settlement on mural

New Mexico’s Department of Cultural Affairs and artist Gilberto Guzman have settled an ongoing dispute over the fate of Guzman’s “Multicultural” mural. Daniel Zillman, DCA director of communications and marketing, tells SFR the mural on the wall of the former Halpin Building at the corner of Guadalupe Street and Montezuma Avenue—site of the forthcoming Vladem Contemporary satellite branch of the New Mexico Museum of Art—will be removed. But Guzman will “create a scale painting on panels of ‘Multicultural’ for permanent display inside the lobby of the New Mexico Museum of Art Vladem Contemporary, where it will be fully accessible without the price of admission,” Zillman says. A US District Court judge on Friday signed off on the agreement and dismissed Guzman’s lawsuit against the DCA. With the agreement, Zillman says both DCA and Guzman, “affirm to the community our respect for art, culture, history and each other, while looking forward to honoring the mural and building a contemporary museum of art for the citizens of New Mexico.” Guzman could not be reached for comment.

Listen up

The most recent episode of the Santa Fe Art Institute’s monthly Tilt podcast examines how artists use rituals to inform and enrich their creative practices, and to connect to larger communities, identities and places. Guests include: 2019 SFAI Story Maps Fellow Sara Daniele Rivera, a Cuban/Peruvian artist, writer, translator and educator from Albuquerque, recipient of the 2018 Stephen Dunn Prize in Poetry; and interdisciplinary artist, doula, reiki master, writer and mother Tintawi Kaigziabiher, who is the non-fiction editor for the Santa Fe Literary Review; member of Earthseed Black Arts Alliance; an artist with Vital Spaces; and a former fellow with SFR’s nonprofit journalism program.

Baby steps

The timing of human migration in the early Americas remains unresolved, scientists say, but a new study provides evidence from excavated surfaces in White Sands National Park that such movement dates back to the Ice Age—approximately 23,000 years. “I think this is probably the biggest discovery about the peopling of America in a hundred years,” Ciprian Ardelean, an archaeologist at Autonomous University of Zacatecas in Mexico, tells the New York Times. Ardelean, who was not involved in the work, notes: “I don’t know what gods they prayed to, but this is a dream find.” Prior to this discovery, the oldest evidence of human migration dated back about 13,000 years, based on another New Mexico discovery: the oldest known tools, found in Clovis. But since the 1970s, researchers such as Ardelean have been publishing potential older evidence of humanity’s presence in North America, again with signs of tools. The White Sands discovery, however, involves footprints, first found by park manager David Bustos in 2009. Since then, scientists have found thousands of them across 80,000 acres of the park. “In other words,” the Times writes, “the people who left the footprints walked around White Sands about 10,000 years before the Clovis people. The youngest footprints, the researchers estimated, dated to about 21,130 years ago.” The discovery, archaeologist Ruth Gruhn (also not involved in the study), says: “is a bombshell.” Scientists are continuing research at White Sands, racing against the clock before erosion erases remaining evidence.

All’s not fair

The Washington Post examines the impact vaccine mandates are having at large-scale events, focusing on New Mexico’s State Fair. Gov. Michelle Lujan Grisham announced mid-August that attendees would be required to show proof at the fair, which ran Sept. 9-19. At the Fair, the Post reports, “the barns that are typically packed with animals entered in the state’s premiere youth livestock contest were quiet. Resting in pens were a sleepy pig and a few sheep there only for display, not awards.” Meanwhile, at the Eastern New Mexico State Fair Grounds, hundreds of children and others gathered for an alternative livestock show. The “fractured” state fair, the Post writes, was “emblematic of the latest stage of a pandemic still fomenting division months after the release of vaccines that were supposed to end it.” The fair’s general manager Dan Mourning tells the Post the mandate caused some scrambling and, ultimately, the fair canceled the livestock show. “We knew immediately that there were people that were not going to be making our party this year,” says Mourning, who described himself as “dismayed” by the loss of the youth livestock component but also supportive of the mandate itself. At both the fair and the alternative fair, the Post finds a variety of views, both in favor and against vaccinations. The unifying sentiment appears to be that children ended up caught in the middle of what turned into a political fight. “The young men and women that have worked so hard for that deserve to have their show,” Mourning says. “They’re pawns in this.” Mourning continues: “The state fair is for all New Mexicans. And we hope next year all New Mexicans can come back and enjoy the show.”

Rain return?

Cross your fingers, Santa Fe: We might see some rain this week. The National Weather Service forecasts scattered showers and thunderstorms after noon today, with a 50% chance for precipitation. Otherwise, it will be partly sunny with a high near 70 degrees and north wind 5 to 15 mph becoming southwest in the afternoon. We may see a little more rain tonight and for the rest of the week.Thanks for reading! As someone with more T-shirts than she needs, The Word enjoyed reading about novelist Haruki Murakami’s T-shirt collection.

RankTribe™ Black Business Directory News – Arts & Entertainment

Meanwhile in Canada, a college course on Drake and The Weeknd exists

Class is in session, R&B kids. If your school sched is looking glum (and if you happen to be in Canada), here’s one you might wanna enlist in: Drake and The Weeknd 101.

Author, publicist and music prof-in-residence Dalton Higgins dropped the news about his upcoming 2022 college course in Toronto’s X University (a.k.a. the soon-to-be-renamed Ryerson University), formally titled “Deconstructing Drake and The Weeknd.” Higgins, who teaches at the university’s Creative School, says this is meant to boost the hip-hop pedagogy movement in the academe.

“On the U.S. college and university scene there are all kinds of courses being taught about rock, folk, pop artists like Miley Cyrus, Lady Gaga, Bruce Springsteen—so why shouldn’t there be a course about Drake and The Weeknd right here in Toronto?” he said to Canadian publication Now.

“On American college campuses, there are easily more than 300 hip-hop courses being taught about artists like Jay Z, Outkast, Beyoncé (there are a lot of Beyoncé courses). Many Ivy League universities, including Harvard and Cornell, have fully embraced hip-hop education, so we can do the same here.”

He adds: “When you have two Black artists born and bred in Toronto who perform rap, R&B, and pop, and who are arguably well on their way to becoming billionaires at some point in time, there is apparently a lot to learn.”

Back in 2012, Higgins published a book on Drake titled “Far From Over,” where he wrote about the Canadian rapper’s clever lyricism. And according to reports, it seems that the course’s syllabus includes that and more—including topics like the interplay of race, class, and gender, along with Drake and The Weeknd’s business acumen and how it led them to their current chart-topping status.

But if you aren’t a college student in Toronto and aren’t planning to be any time soon, don’t fret—you might wanna check out these interesting local courses to line up at your registrar for. (Food trip 101 is definitely a thing.)

Photo from The Weeknd’s Instagram

This story was first published on scoutmag.ph

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RankTribe™ Black Business Directory News – Arts & Entertainment

“We Walk” celebrates Black history with access in mind

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Angeli Mittal/Daily Senior Staffer

The Haitian American Museum of Chicago and Crossing Borders Music Sunday afternoon to host “We Walk: A Celebration of Black Community” at Dawes Park.

On Sunday afternoon, passersby in Dawes Park stopped to listen to anthropologist Edward C. Davis IV. 

The professor of African American studies at an Illinois high school described how he discovered his family’s Black and Indigenous history. He traced his ancestry to Angolan King Dago Gonwelão and Angolan Maroons who left colonial English Virginia to live with the Saponi tribe.

As a Maroon, Davis said sometimes it’s uncomfortable to talk about the past, but that it can also be empowering.

“We’ve learned to keep it secret,” Davis said. “(But)… it’s uncovering those stories, those links, those truths that can bring us together.”

Davis’ presentation was one of three different booths in the “We Walk: A Celebration of Black Community” event hosted by the Haitian American Museum of Chicago and Crossing Borders Music. The exhibition highlighted the Black American community’s contributions to art, science and music in America’s history.

HAMOC hosted “We Walk” for the first time in October 2020 as a way for museum members to engage with the community despite being shut down due to the pandemic.

Sunday’s event was the second time HAMOC hosted the exhibition, this time with support from an Evanston Arts Council grant meant to support arts in the community. HAMOC plans to host the exhibition again next month in North Lawndale.

Carlos Bossard, executive director of HAMOC, said the museum’s main goal is to educate others about the contributions and history of the Black community. He said, at its core, a museum is about engaging with the public and sharing knowledge. With “We Walk,” Bossard said, people don’t have to come to the museum — the museum comes to them. 

“We’re bringing the education to them in a very easy, accessible way,” Bossard said. 

Sunday’s exhibition featured three different booths and a musical performance. The booths focused on the Underground Railroad, the Illinois Trail of Tears, Black internationalism and Black inventors and scientists.

The musical performance highlighted Black artists like Sabrina Claire Detty Jean Louis, Jean R. Perrault and Bienen freshman Kailie Holliday. 

Tom Clowes, executive director of Crossing Borders Music, said he hopes performers can use music as an avenue to express Haitian culture in a way they feel is accurate and representative.

“I think it can transcend boundaries of language and distance to change and open hearts and minds,” Clowes said.

For Bossard, including music within the event not only allows for an informational and musical dimension to the exhibition but also allows the performers to connect with Black composers in their own way.

Bossard said emphasizing and uplifting Black history was a way to give back to the community, especially after the disproportionate toll COVID-19 took on Black communities. 

“By highlighting Black history, culture and just successes of Black folks throughout history, this is our way to bring something back,” Bossard said. “This is our conversation with how we can bring back into the spotlight Black history, culture and community.”

Email: [email protected] 

Twitter: @KatrinaPham_

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