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ROME, Ga. — The request for a campaign contribution came in an email. Or was it a text? Gerald Luongo gets so many he can’t remember.

Luongo does recall that he was eager to give $25 to the Democrat — he struggles to recall his name — who’s running to unseat Rep. Marjorie Taylor Greene, the Republican congresswoman whose recent outrages include calling Democrats the “party of pedophiles” and speaking at a white nationalist’s political conference.

“What she’s saying and doing is annoying the hell out of me,” says Luongo, 83. “A disgrace.”

A few weeks after his contribution, an automated text popped up on Luongo’s phone from the same Democratic candidate. “Hey, it’s Marcus Flowers,” the text began, explaining that a donation “before midnight” would maintain the momentum needed to “end” Marjorie Taylor Greene’s “tenure of terror.” This time, Luongo gave $50.

Then another, “Hey, it’s Marcus” text arrived a few days after that. So he sent another $50.

It didn’t matter that Luongo doesn’t live in Georgia,let alone the district where Flowers is running. Nor does it seem to matter that Flowers — or any Democrat, for that matter — is viewed as having littlechance of unseating Greene,who won in 2020 with nearly 75 percent of the vote in one of Georgia’s most pro-Trump areas (although his name appeared on the ballot, the Democrat running against Greene that year dropped out early, citing personal reasons).

“It’s important that we tell Marjorie Taylor Greene that not everyone likes her,” Luongo says by phone from Boca Raton, Fla., where he owns a language school. “I get to make a statement.”Could Marjorie Taylor Greene lose in the primary? Her Republican challenger thinks so.

For Marcus Flowers, 46, an Army veteran who only recently discovered an interest in politics, the right opponent is Greene, who in the past has made comments that even fellow Republicans called “appalling,” “disgusting” and “bigoted,” and who has energetically echoed former president Donald Trump’s false claim that he won the 2020 election. Flowers, among three Democrats competing for thechance to face Greene, rarely utters more than a few words without mentioningher. “I’m Marcus Flowers,” he likes to say, in an easy-on-the-ears baritone, “Army veteran and Democrat running to unseat Marjorie Taylor Greene.”

This strategy helped him raise more than $8.1 million by early May, according to his most recent campaign finance report.As of Monday, according to the Federal Election Commission’s website,he had raised more money than any congressional challenger in the country,despite the fact that experts doubt a Democrat can win Georgia’s 14th District, even with a recent redistricting making it ever so slightly less red.

“This district is solidly Republican,” said Andra Gillespie, an Emory University political science professor. “If the goal is to unseat Marjorie Taylor Greene, I would not hold my breath.”

Yet some Democrats are hopingGreene’s incendiary words and antics make her vulnerable — even to a Democratic challenger. “There’s a sense of people being tired of her shtick,” said Vinny Olsziewski, an adviser to Wendy Davis, another Democrat in the race (not to be confused with the former Texas state senator).

Jen Jordan, a Georgia state senator supporting Flowers, said victories aren’t the only way to measure a long shot’s political value. Especially in a state like Georgia, where an uptick in turnout can have broader consequences. “It’s about losing less,” said Jordan, who is running for attorney general.

If Flowers can drive up turnout, Jordan says, he can help Democrats in tighter races — Sen. Raphael G. Warnock, say, or gubernatorial candidate Stacey Abrams. “That’s why you need good Democrats running,” she says. “It adds up.”

A Greene spokesman did not respond to an email seeking comment.

Long-shot candidates raising heaps of cash havedrawn notice in the past. In one especially memorable Democratic cash bonfire, retired Marine fighter pilotAmy McGrath lost by nearly 20 points to Republican leader Sen. Mitch McConnell in Kentucky despite outspending McConnellby $25million.In New York, Republican John Cummings raised $11 millionrunning against Rep. Alexandria Ocasio-Cortez (D) and lost by 44 percentage points.

Lauren Harper, a co-founder oftheWelcome PAC, an organization that promotes a “big-tent” Democratic Party, said Democrats should train resources on competitive races. “We can’t just focus our energy on the people who are driving us bananas,” she said. “It’s a matter of us not using our money as wisely as we could.”

Flowers has built a fundraising powerhouse that uses emails and texts, as well as posts andads on Facebook, Instagram, TikTok and Twitter,to cash in on how many people around the country wish Greene were not in Congress. His donors include Patricia Arquette, Felicity Huffman, Kyra Sedgwick and also lots of fired-up liberals who aren’t famous actresses. In a black cowboy hat that has become his signature campaign accessory, Flowers asks for small donations — $5, $10, or $25 — but he is happy to take more.

“I probably get an email a day from his campaign,” said Pete DeSimone, the manager of a National Audubon Society sanctuary in California who gave Flowers $1,000. “I don’t know much about him. But I know enough about her that I’d like to see her beaten. I just wanted to do something.”

Martinus Nickerson, a retired traffic engineer in Bellingham, Wash.,gave Flowers $2,900. Reached by phone, hepauses when asked about the candidate. “He’s running for Congress, is that right?” After being reminded that Greene holds the seat Flowers hopes to win, Nickerson says he doesn’tneed to know anything more to justify his contribution.

“Democrats are irrationally throwing money into the campaign,” says Brian Robinson, a Republican strategist who advised the candidate who lost to Greene in the 2020 primary. “It’s scratching an itch. They hate Marjorie Taylor Greene so much, they want to do something to manifest their hatred in a tangible way.”

“I hear it every day: ‘You can’t win.’ That means zero to me.”

Marcus Flowers is sitting in his campaign headquarters, a cavernousstorefrontinRome, about 70 miles northwest of Atlanta. On the campaign trail he often looks as if he walked off the set of a contemporary western, in his cowboy hat, silver belt buckle, blue jeans and square-toed boots. As a younger man, he wore the uniform of the U.S. Army, where he attained the rank of sergeant and later worked as a military contractor. He talks in the tough-guy languageof a soldier, with references to his “mission” and pleas to voters like, “I can’t take this hill alone.”

Flowers, who is Black, often says his decision to enter politics was heavily influenced by the 2020 killing of George Floyd, and he has described the Jan. 6, 2021, attack as the moment running for Congress “became mission-critical for me.” He frames his candidacy as a virtuous expression of underdog resolve.“Do you just say, ‘You’re a Democrat,’ you don’t run at all, you don’t put up a fight, you just sit back and say, ‘It’s an unwinnable race’?” he says. “That ain’t me.”

Flowers has raised far more money than his Democratic opponents.Holly McCormack, a small-business owner, has raised more than$1.8 million, according to campaign finance records. Davis, a local elected official and longtime party organizer, has raised $485,000.

Davis said in an interview that she rejected strategists who “pitched to me that you spend a lot of money to buy a lot of donor lists and you email the list constantly and call Marjorie Taylor Greene the devil and people will send you money.”

She acknowledgedthat Flowers’s fundraising advantage may help him win the primary. But in a general election, “I don’t see how he takes his messaging and wins Republican voters over,” Davis says. “It creates an us-vs.-them environment, Republicans are the enemy. It doesn’t benefit me to say my neighbors are kooks.”

Steven Sherry, a former adviser to McCormack, also expressed uneasiness about the approach, which he said has beenin vogue since Democrats across the country made a point of rejecting corporate donations.“The issue is we’re taking $25 from our grandmother because we’re sending her an email that says if she doesn’t, the insurrection is just the beginning,” he said. “They freak people out. It’s a race to the bottom in how we can trick you into giving us money.”

Flowers says nobody’s tricking anybody here.

“I’m sounding the alarm,” he says, adding that “2022 is a dry run for an authoritarian takeover in 2024.”

Flowers knows how to get attention. A month before entering the race, he tweeted a video of himself using a razor blade to peel a Confederate flag sticker off what appears to be a public utility box. “I’m Marcus Flowers, and I’m here to say, ‘No more,’” he said, crumpling the sticker.

The video caught the eye of an Atlanta-based digital advertising and fundraising strategist named Bobby Kaple, whose firm, Blue Chip Strategies, produced Flowers’s first campaign video, in which the candidate talks about his military background amid images of the Jan. 6, 2021, attack and references to some of Greene’s most outlandish statements.

“Her twisted conspiracy theories may have helped make her famous, but they haven’t done a damn thing for the people here in the district,” Flowers says in the video.

After entering the race,Flowers tried to get into a rally that Greene and Rep. Matt Gaetz(R-Fla.) held in Georgia and turned the outing intomore social mediacontent. “Just got kicked out of the ‘America First’ rally with Marjorie Taylor Greene and Matt Gaetz because they said I was a threat,” Flowers says in avideo his campaign posted on Facebook.

“I’m not a threat to her,” he later says. “Perhaps to her job if you help me out. So, please, chip in five, 10 dollars — whatever you can — and let’s end this national nightmare.”

As of early May the Flowers campaign had spent $7.4 million of the $8.1 million it had raised, according to campaign finance records.

He had paid Blue Chip Strategies over $2.5 million. He alsohad spent more than $1 million on another firm, Run the World Digital — which, as its website advertises, “uses proven customized programs and data-driven strategies to engage your supporters, generate contributions, and boost your bottom line.” Consultants often spend a portion of their earnings on media buys and placing digital ads, among other costs. Kaple, the chief executive of Blue Chip, declined to comment on the record, as did the chief executive of Run the World.

Since March 30 Flowers has given about $1 million to Buying Time LLC, a media strategist, to target and purchase advertising space for his message, the records show. A Buying Time executive did not respond to messages seeking comment.

His current Facebook tab is more than $2.5 million.

“Your picture just keeps showing up,” Jeff Tate, 50, a mutual fund salesman, tells Flowers.

It’s a Saturday morning in late April. Marcus Flowers was ambling through a BBQ, Boogieand Blues festival in Calhoun, Ga., when Tate recognized him from the four or five mailers that have arrived at his house. The mailers feature photos of Flowers in a cowboy hat that looks like the one the candidate is now wearing.

Tate says his household is split when it comes to the primary. While he says his wife is leaning toward Wendy Davis, he thinks Flowers’s military background could help him appeal to conservative voters and take on Greene. “I’m glad you’re here,”he tellsFlowers.

They’re standing atthe Gordon County Democrats’table, among rows of vendors offering servings of barbecue.Some people aren’t as happy that a Democrat is here.The man selling Farmers Insurance at the neighboring table hung a “Trump 2020” banner to block his viewof the Democrats’ booth.His setup also features a Marjorie Taylor Greene campaign sign.

At the Republican table nearby, Harry Russell, 84, a retiree wearing a shirt designed as an American flag, laughs at the idea that any Democrat can beat Greene. “The more they lie about her, the more popular she gets,” he says.

The Greene campaign may even see Flowers’s fundraising success as an opportunity to generate moredonations from Republicans.Flowers’s adviser, Chase Goodwin, shared a screenshot of what appears to be a recent fundraising email from Marjorie Taylor Greene’s campaign, which has raised more than $10 million.

“HELP MTG BEFORE TONIGHT’s DEADLINE, DONATE TODAY!” the plea begins. “I’m afraid of what will happen if I fall short. The Communist Democrat running against me raked in over $8,000,000 to defeat me…”

https://www.washingtonpost.com/lifestyle/2022/05/17/marcus-flowers-marjorie-taylor-greene-fundraising/

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Festus Claudius “Claude” McKay OJ (September 15, 1890^[1] – May 22, 1948) was a Jamaican-American writer and poet. He was a central figure in the Harlem Renaissance.

Born in Jamaica, McKay first traveled to the United States to attend college, and encountered W. E. B. Du Bois‘s The Souls of Black Folk which stimulated McKay’s interest in political involvement. He moved to New York City in 1914 and in 1919 wrote “If We Must Die“, one of his best known works, a widely reprinted sonnet responding to the wave of white-on-black race riots and lynchings following the conclusion of the First World War.

A poet from the first, he also wrote five novels and a novella: Home to Harlem (1928), a best-seller that won the Harmon Gold Award for Literature; Banjo (1929); Banana Bottom (1933); Romance in Marseille (written in 1933, published in 2020), a novella, Harlem Glory (written in 1938-1940, published in 1990), and in 1941 a novel, Amiable With Big Teeth: A Novel of the Love Affair Between the Communists and the Poor Black Sheep of Harlem, which remained unpublished until 2017.^[2]

Besides these novels and four published collections of poetry, McKay also authored a collection of short stories, Gingertown (1932); two autobiographical books, A Long Way from Home (1937) and My Green Hills of Jamaica (published posthumously in 1979); and Harlem: Negro Metropolis (1940), consisting of eleven essays on the contemporary social and political history of Harlem and Manhattan, concerned especially with political, social and labor organizing. His 1922 poetry collection, Harlem Shadows, was among the first books published during the Harlem Renaissance and his novel Home To Harlem was a watershed contribution to its fiction. His Selected Poems was published posthumously, in 1953. His Complete Poems (2004) includes almost ninety pages of poetry written between 1923 and the late 1940s, most of it previously unpublished, a crucial addition to his poetic oeuvre.

McKay was introduced to British Fabian socialism in his teens by his schoolteacher elder brother and tutor and after moving to the United States in his early 20s encountered the American socialist left in the work of W. E. B. Du Bois and through his membership in the Industrial Workers of the World (IWW) — the only American left-labor organization of the era that was totally open to Negro members (as he comments), continuing the tradition of the populist People’s Party of the previous generation. In the course of the teens he became acquainted with the writings of Marx and the programs of a variety of activists. As a co-editor of The Liberator magazine, he came into conflict with its hard-line Leninist doctrinaire editor Mike Gold, a contention which contributed to his leaving the magazine. In 1922–1923 he traveled to the Soviet Union to attend a Congress of the International, there encountering his friend Liberator publisher Max Eastman, a delegate to the Congress. In Russia, McKay was widely feted by the Communist Party. While there, he worked with a Russian writer to produce two books which were published in Russian, The Negroes of America (1923), a critical examination of American black-white racism from a Marxist class-conflict perspective, and Trial By Lynching (1925); translations of these books back into English appeared in 1979 and 1977 respectively; McKay’s original English texts are apparently lost. In the Soviet Union McKay eventually concluded that, as he says of a character in Harlem Glory, he “saw what he was shown.” Realizing that he was being manipulated and used by the Party apparatus, and responding critically to the authoritarian bent of the Soviet regime, he left for Western Europe in 1923, first for Hamburg, then Paris, then the South of France, Barcelona and Morocco.

After his return to Harlem in 1934 he found himself in frequent contention with the Stalinist New York City Communist Party which sought to dominate the left politics and writing community of the decade.^{[citation needed]} His prose masterpiece, A Long Way From Home, was attacked in the New York City press on doctrinaire Stalinist grounds.^{[citation needed]} This conflict is reflected in Harlem: Negro Metropolis and satirized in Amiable With Big Teeth. His sonnet seqence, “The Cycle,” published posthumously in the Complete Poems, deals at length with McKay’s confrontation with the left political machine of the time. Increasingly ill in the mid-40s,he was rescued from extremely impoverished circumstances by a Catholic Worker friend and installed in a communal living situation; later in the decade he converted to Catholicism.^[3

https://en.wikipedia.org/wiki/Claude_McKay

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As First Lady of New York City, Chirlane McCray has redefined the role of First Lady, managing a robust portfolio to advance an ambitious agenda in support of all New Yorkers.

Nationally recognized as a powerful champion for mental health reform and dubbed one of TIME Magazine’s 50 Most Influential People in Health Care for 2018, Ms. McCray created ThriveNYC, the most comprehensive mental health plan of any city or state in the nation. She also spearheads the Cities Thrive Coalition, with more than 200 mayors, county officials and thought leaders from all 50 states, advocating for a more integrated and better-funded behavioral health system.

As Chair of the Mayor’s Fund to Advance New York City, Ms. McCray brings together government, philanthropy and the private sector to work on some of the most pressing issues of our time, including mental health, youth employment and immigration.

She also launched and leads the NYC Unity Project, an unprecedented citywide effort to make sure LGBTQ young people in New York City are safe, supported and healthy.

Ms. McCray’s other responsibilities are extensive. As co-chair of the Commission on Gender Equity, she is a persistent voice for creating a 50-50 city and world. In partnership with NYC’s Police Chief, she leads the Domestic Violence Task Force. And in 2015, with her signature, New York City became the first city in the country to join the United Nations Women’s Safe Cities Global Initiative.

The First Lady is a graduate of Wellesley College. She and Mayor Bill de Blasio live in Gracie Mansion, the official residence, and are proud parents of Chiara and Dante.

Chrilane McCray’s bio: City of New York

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NPR names Juana Summers co-host of ‘All Things Considered’

NPR has named its veteran reporter Juana Summers as the newest host for its flagship afternoon news program All Things Considered.

Summers is now a correspondent covering race, justice and politics for the network. Starting June 27, she will fill the hosting position left vacant by Audie Cornish, who departed NPR for CNN in January.

In an interview, Summers, who is Black, said she hopes to further expand All Things Considered‘s reach to new and diverse audiences. She aims to reach more people whose experiences are not typically represented in the media and empower them to tell their stories on air. She also said she hopes to do more in digital spaces to reach younger audiences.

“One of the things that I’m the most excited about is that every day I get to sit in that seat and be a stand-in for a smart, curious listener who cares deeply about issues and the world around them,” Summers said.

Summers said she knew she wanted to be a reporter since high school, where she started writing for her school newspaper in Kansas City, Mo. She began working in public radio at KBIA in Columbia, Mo. Since 2010, she has covered politics for outlets including CNN, Politico and The Associated Press. Summers covered Congress for NPR in 2014-15 and rejoined in 2019.

“I was so eager to return to NPR because I believe in the public service mission that is at the heart of everything we do,” she said. “Serving the public is an incredible responsibility.”

“She is a first-rate journalist with an enviable track record,” said Sarah Gilbert, the NPR vice president who oversees its news magazines. “She’s a natural leader and connects with people in a way that makes them feel heard, and she has an instinct for creative storytelling that is second to none.”

Summers will join All Things Considered co-hosts Ailsa Chang, Mary Louise Kelly, Ari Shapiro and Michel Martin at a time when questions about diversity, equity and retention have sparked intense discussion inside NPR’s newsroom and in public.

Female hosts of color, in particular, have raised questions of pay disparities and whether they have institutional support to pursue the stories they seek to tell.

Within several months spanning from last fall to this spring, show hosts Cornish, Lulu Garcia-Navarro and Noel King — all women of color — left the network. They cited fresh opportunities and, with the exception of King, frustrations with the network.

The network has hired a notably diverse cadre of hosts since, including A Martínez, Leila Fadel, Ayesha Rascoe and now Summers.

Summers said she hopes to attract new audiences to NPR by sharing the voices of people whose perspectives may be missing on the air. She pointed to her reporting on Gen Z Republicans grappling with the future of their party, patriotism among Black Americans and the spotlight the Biden-Harris administration put on blended families.

“It’s important for all of us to be thinking really critically about how we create space and opportunity for women and people of color and others from marginalized backgrounds to grow and to feel valued and to be their authentic selves at work,” Summers said. “I think that the fact that ATC selected someone like me is a testament to the fact that NPR and NPR’s leadership takes that incredibly seriously.”

She also sees digital spaces, such as social media, as key to expanding All Things Considered‘s reach to new audiences.

“I really see this as an opportunity for a person who maybe has to bring the voices of people who perhaps have never heard of NPR or think that NPR is not a place for them, to convince them that they’re wrong and that this can be a news home for them,” Summers said.

All Things Considered debuted in 1971. Since then, it has won many journalism awards, including the George Foster Peabody Award, the Alfred I. duPont-Columbia University Award and the Overseas Press Club Award.

Disclosure: This story was reported and written by NPR Intern Jacqueline GaNun and edited by NPR Deputy Business Editor Emily Kopp. NPR Media Correspondent David Folkenflik contributed to this story. Under NPR’s protocol for reporting on itself, no corporate official or news executive reviewed this story before it was published.

https://www.npr.org/2022/06/08/1103554795/npr-names-juana-summers-co-host-of-all-things-considered

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Justine Lindsay is the first openly trans cheerleader in the NFL

The NFL season doesn’t start until September, but Justine Lindsay is making history in the off-season as the league’s first openly transgender cheerleader.

Lindsay, 29, announced that she had made the Carolina Panthers TopCats team earlier this year in an Instagram post.

“Cats Out the Bag you are looking at the newest member of the Carolina Panthers TopCats Cheerleader’s @topcats as the first Transgender female,” Lindsay wrote. “I would like to thank the beautiful and talented dancers who supported me along the way … This is a moment I will never forget and I cannot wait to show you all what this girl has to bring. Thank you @topcats a dream come true.”

Lindsay told BuzzFeed News that she was “so scared” to share the Instagram post in which she publicly came out.

“I just felt like when I posted it, whatever reaction I get from everyone, it does not matter,” Lindsay told BuzzFeed. “And then my phone started blowing up.”

Fans have sent messages of support to Lindsay on her Instagram posts, including telling her to block out any messages of hate or those questioning her spot on the squad.

TopCats director Chandalae Lanouette and the Panthers have both said Lindsay’s skills are what secured her spot on the team.

“Members of the TopCats are hired based on their qualifications and abilities,” the Panthers said in a statement to NPR. “Our organization is an equal opportunity employer and does not discriminate because of age, race, religion, color, disability, sex, sexual orientation, or national origin. We wish all the TopCats, including Justine Lindsay, an incredible season.”

Lindsay said she knows that her making the team as a Black trans woman is a big deal and is already speaking out against those who are trying to bring her down.

“Thank you to all my haters who think I’m bringing the organization down, clearly I don’t,” Lindsay said in an Instagram post on Monday. “The carolina panthers Organization is an excellent one, one that supports all people white, black , yellow trans, straight etc. at the end of the day myself and the other 29 members @topcats made the squad fair and square.”

https://www.npr.org/2022/06/07/1103426872/justine-lindsay-first-openly-trans-nfl-cheerleader

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Better late than never: the story of Beverly “Guitar” Watkins

By Polly Glass ( Classic Rock ) published July 08, 2020

Beverly “Guitar” Watkins didn’t record her first album until she was 60, but she was tearing up the blues circuit long before then

She played on songs that inspired the 60s wave of rock’n’roll. By the 80s she was cleaning offices and houses, and performing at a food court for tips. Then in the 90s a serendipitous series of steps led to her making her first record. 

Suddenly this woman from rural Georgia, whose ferocious guitar chops had always been in service to others, was up front. Off stage she could have been your friendly, church-going southern grandma; on stage Beverly “Guitar” Watkins had more in common with Jimi Hendrix and Pete Townshend. 

Screaming, top-of-the-neck wails, full-throttle riff assaults, soloing with the guitar round the back of her head… No wonder her former tour buddy Taj Mahal called her “a flat-out musician who can duke it out on stage with the best there is – man, woman or child prodigy”. 

“She’d been doing all that since the late 1950s,” Brett J Bonner, editor of Living Blues magazine, said in the New York Times, “but she wasn’t a star because she’d been a sideman most of her career, playing with bands that didn’t have hits. She was a fabulous guitar player.” 

Born in 1939 and raised in the country by her sharecropper grandparents (her mother died when she was three months old), Watkins was a “tomboy” who went fishing and rabbit hunting with her grandfather, and listened to her aunts sing in churches, as well as to the gospel and guitar stylings of Sister Rosetta Tharpe. 

When she was eight she was given her first guitar, which she took to “barn dances” where her grandfather and his friends would sit round a big fire playing banjos and drinking muscadine wine. When she was about 11 she went to live with her aunt in Atlanta. There she played trumpet in her high-school band, but had settled on the guitar by the time she started playing in local bands. 

At 16 she met William Lee ‘Piano Red’ Perryman, a larger-than-life black albino singer/pianist, who asked her to play rhythm guitar in his group Piano Red & The Meter-Tones. “He was like a father to us,” she said. “He taught me stage presence.”

Still, the group’s presence was felt. They opened for stars including James Brown, Aretha Franklin and Ray Charles, and their hit Mister Moonlight was covered by The Beatles, The Hollies and The Merseybeats. Johnny Kidd & The Pirates famously covered their song Dr. Feelgood (the band Dr. Feelgood took their name from that cover).

When Watkins was 24 she gave birth to her son, Stan, the product of a fling with an Atlanta musician. When work with Piano Red tailed off, she continued to play guitar for other musicians including Leroy Redding (cousin of Otis), as well as a stint playing bass with another Atlanta stalwart, Eddie Tigner, in Holiday Inn lounges for a year or so. When she wasn’t touring she supplemented her income by washing cars and cleaning offices. 

Towards the end of the 80s she got a regular gig at Underground Atlanta, a downtown shopping and entertainment district and a hot spot for street performers. It was here, in the mid-90s, that Danny ‘Mudcat’ Dudeck (an Atlanta-based blues guitarist who’d been impressed by her playing) introduced her to Tim Duffy, a folklorist who with his wife Denise had started the Music Maker Relief Foundation to help struggling Southern musicians. 

“When Beverly performed, she moved people, but especially young women and girls,” Dudeck told the Atlanta Journal Constitution. “She rocked harder than a man, and that was inspiring.”

Supported by Duffy and the foundation, Watkins went on tour with other Music Maker-affiliated artists, including Taj Mahal, and when she was 60 years old she was finally able to make her first record, 1999’s Back in Business, with blues producer Mike Vernon (best known for his work with John Mayall and Peter Green-era Fleetwood Mac and starting British blues label Blue Horizon). 

“I put in so much hard work in this business,” she said. “And I made everybody else shine. It’s my time now.” 

The upside of her advanced age was being able to draw from the many sounds and scenes she’d absorbed throughout her life. These would gleam through her subsequent gigs and records, which carried scents of gospel, shit-kicking R&B, soul, funk, even jazz. 

She was very much a guitarist before she was a songwriter (not surprising, given that she’d spent most of her career playing guitar), but there’s a brightness and energy to her songs, informed by years of party blues and barrelhouse boogies with Piano Red. I’m Gonna Rock Some More, Right Don’t Wrong Nobody, Back In Business, Impeach Me Baby… This is music made to entertain, not for solemn chin-stroking.

Watkins’s latter career was hindered by health issues including cancer, a heart attack and a brain aneurysm, but she never stopped performing. Indeed most of the footage of Watkins that you’ll find online shows her in her 70s, still rocking hard, still inciting audience singalongs. 

During her final years she gave interviews from a seniors’ assisted living facility in Atlanta, and dreamed of owning a house and a Les Paul guitar. There will be others like her – gifted, often pioneering musicians who never made it beyond the margins. Today we’re used to hearing about hitherto unknowns because an A-list star scooped them up, but that never happened for Watkins. 

Inevitably her position as a woman striking out in her 60s – at a time when the blues was yet to have its next renaissance – didn’t help. And so her name has remained largely confined to Atlanta folklore and a niched circle of blues enthusiasts. Her final record, Don’t Mess With Miss Watkins, was released in 2010. 

Right up until her stroke in 2019, which preceded the heart attack that killed her at the age of 80, she continued to play in clubs and nursing homes across Atlanta, and, on the first Sunday of each month, at the church in Commerce, Georgia, where she was raised. Her faith never wavered. 

“He [God] took care of me when I didn’t take care of myself,” she said with a smile at her seventy-sixth birthday gig at the Northside Tavern in Atlanta. And yes, she was still playing with her guitar round the back of her head.

https://www.loudersound.com/features/better-late-than-never-the-story-of-beverly-guitar-watkins

Link includes links to videos of Beverly “Guitar” Watkins playing

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James Van Der Zee (1886-1983) was born in Lenox, Massachusetts and demonstrated an early gift for music, initially aspiring to a career as a professional violinist.  His other interest was photography. At the age of fourteen he received his first camera and took hundreds of photographs of his family and the town of Lenox.  As one of the first people in the town to own a camera he was able to provide a rich early documentation of community life in small town New England.  Van Der Zee moved to New York City in 1906 to work with his father and brother as waiters and elevator operators. By now a skilled pianist and aspiring professional violinist, he was also the primary creator and one of the five performers in a group known as the Harlem Orchestra. In 1915 Van Der Zee moved to Newark, New Jersey where he was employed as a darkroom assistant and later as a photographer in a portrait studio.  He returned to New York in 1916 and moved to Harlem just as large numbers of black migrants and immigrants were arriving in that section of the city.  He set up his first portrait studio in his sister’s music conservatory and two years later, with his second wife, Gaynella Greenlee, established the Guarantee Photo Studio in Harlem.  Quickly Van Der Zee became the most successful photographer in Harlem. Early 20th century black activist Marcus Garvey, black entertainer/ dancer Bill “Bojangles” Robinson and renowned black poet Countee Cullen were among his more prominent subjects.
 

 By the early 1930s Van Der Zee’s income from his photography work declined partly because of the strained economic circumstances of many of his customers and partly because the growing popularity of personal cameras reduced the need for professional photography. Van Der Zee responded by shooting passport photos, doing photo restorations, and taking other miscellaneous photography jobs, an approach he would employ for over two decades.   In 1967 James Van Der Zee’s work was rediscovered by photographers and photo-historians and he then received attention far beyond his Harlem community.  Van Der Zee came out of retirement to photograph celebrities who in turn promoted his work in exhibits around the nation.  His images were also the subject of books and documentaries.   In 1993, the National Portrait Gallery exhibited his work as a posthumous tribute to his remarkable genius. 

https://www.howardgreenberg.com/artists/james-van-der-zee

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Dr. Marion Antoinette Richards Myles, a scientist with expertise in plant physiology, including the effects of drugs and hormones on plant growth, played a significant role in integrating higher education in the American south. In 1965, she became the first African American faculty member of the University of Mississippi Medical School, with an appointment as an Assistant Professor of Pharmacology and Research. Prior to accepting the position at Mississippi, Myles had both taught at numerous other colleges and universities and been awarded research fellowships to study at the California Institute of Technology and at the Institute of Nuclear Studies at Oak Ridge National Laboratory in Tennessee.

Born in Philadelphia, Pennsylvania in 1917, Myles came from a large family with several brothers and sisters. Her father, Alfred Richards, an immigrant from Bermuda, worked as a rigger on the city wharves, while her mother Helen, was a native of Pennsylvania. According to census records, at about age 12, the Peterson family, also of Philadelphia, likely adopted Myles. Following high school graduation, she attended the University of Pennsylvania, graduating in 1937. She then completed a master’s degree at Atlanta University in Georgia in 1939.

From 1941 to 1943, Myles lived in Little Rock, Arkansas, teaching biology at Philander Smith College. In 1943, she began her doctoral studies at Iowa State University, receiving a research fellowship to support her scholarship in the area of plant physiology. In 1935, Iowa State had also awarded a PhD in Botany to Jesse Jarue Mark, among the first African Americans to receive a doctorate in the field.

Over the next two decades, Myles taught biology, botany, agronomy, and zoology, at several institutions including Tennessee State University, Fort Valley State College (now university) in Georgia, and Alcorn State University in Mississippi. In 1950, while serving as an Associate Professor of Agronomy at Tennessee State, she completed a special course on radioisotopes at Oak Ridge National Laboratory, planning to apply the technique to studies of plant nutrition and photosynthesis. In 1952, she won a Carnegie Foundation Research Grant and between 1959 and 1961, she served as a Research Associate in Enzymology at Vanderbilt University in Nashville. Professionally, Myles was active in many scientific societies and organizations, including the American Association for the Advancement of Science, the Botanical Society of America, the American Society of Plant Physiologists, and the National Education Association.

In 1965, Myles gained international attention when the University of Mississippi named her as its first African American faculty member. According to a July 15, 1965 article in Jet, her appointment as an Assistant Professor of Pharmacology in the Medical School came over the objections of some members of the board of trustees of the State Institutions of Higher Learning, who opposed the selection of any black faculty. However, as a result of such discriminatory behavior, the school risked losing federal funding, as it was in violation of nondiscriminatory provisions of the 1964 Civil Rights Act.

Myles passed away on October 18, 1969 at the age of 52. Her husband, Frank J. Myles, preceded her in death.

Marion Antoinette Richards Myles (1917-1969)

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Dewey Decimal Decolonizer

In 1932, Dorothy Porter earned an M.S. in library science from Columbia University and became their library school’s first black graduate. However, she may be best known as the librarian who changed how works by black writers are classified. Overall, Porter’s classification method challenged the inherent racism and colonial gatekeeping of knowledge within the Dewey Decimal System.

Most of Porter’s library career was spent building the Moorland-Spingarn Research Center at Howard University into a world-class research collection on Black/Africana history and culture. A substantial portion of the library’s collection was gifted by Howard alumnus, Reverend Jesse E. Moorland and NAACP’s legal committee chairman Arthur B. Spingarn. These acquisitions were the backbone of the university’s library. Porter was concerned with assigning proper value and classification to the collection. However, at the time of acquisition, no other library in the country had expertise in properly classifying works by black authors.

Every library Porter consulted for classification guidance relied solely on the Dewey Decimal Classification. In that system, black scholarly work was classified using either the number 326 that meant slavery or the number 325 for colonization. For Porter, it became necessary to develop a satisfactory classification workaround for this collection that did not reimpose stereotypes of black culture that prevailed within the Dewey Decimal System. Porter classified works within the collection by genre and author in order to highlight the role of black people in all subject areas like art, education, history, medicine, music, and even literature. This approach helped to combat racist stereotypes and false narratives while celebrating black self-representation.

During her over 40-year library career, Dorothy Porter devoted herself to developing a modern research library at Howard University. Not only did she build a world-renowned library for special collections of the global black experience, she also became a pioneer in the field of library science through her challenge of the racial bias within the Dewey Decimal System.

13 Pioneering Black American Librarians You Oughta Know

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Willard Johnson, bacteriologist, science educator, and business proprietor, was born in Leavenworth Kansas, the third of the eleven children of Joseph Johnson and Hattie McClanahan. Taught by his high school’s founder, Blanche Kelso Bruce, nephew of the Reconstruction era Senator of the same name, he was the first in his family to go to college. Johnson attended Kansas University (KU), where he joined the Kappa Alpha Psi fraternity. In 1922, he was admitted to the Kansas University Medical School. Probably the second African American ever admitted, Willard struggled through nearly three years of medical course work but did not transfer to a black medical school to finish as KU required at the time.

Willard Johnson was awarded his Bachelor’s at KU in 1924 and then taught biological science courses at Rust College in Mississippi. In 1928 he completed a year of graduate work in bacteriology at the University of Chicago. In 1929, he joined the faculty of Tennessee Agricultural and Industrial College in Nashville where he and his bride, Dorothy N. Stovall, of Humboldt, Kansas, had their first son, Richard E. He headed the Biology Department and taught zoology, comparative vertebrate anatomy, physiology, botany, hygiene, and bacteriology. In 1932 he did further graduate study at Emporia State College in Kansas.

The People’s Hospital of St. Louis, Missouri enticed him to move there in 1933, to establish and operate a private diagnostic laboratory. Soon thereafter, he assisted specialists sent from Washington, D.C., in combating an outbreak of sleeping sickness disease. Their second son, Willard R., and twin daughters, Alberta M., and D. Roberta, were born there. Then Johnson taught a variety of science courses at Stowe Teachers College, a predominately black institution in St. Louis. Soon thereafter, in 1937, placing at the very top of those taking the U.S. Health Service exams, but requiring the intervention of Eleanor Roosevelt to actually get hired, he became the first black professional staff person at the Jefferson Barracks (Veteran’s) Hospital, in St. Louis. The hospital’s leadership rather quickly maneuvered to have him reassigned to the (Black) Veteran’s Hospital in Tuskegee, Alabama, where he achieved several promotions.

After WWII, Johnson was unsuccessful in seeking reassignment within the US Public Health Service. He resigned and moved to Pasadena, California where he helped establish and became sole proprietor of the private Avalon Boulevard Medical Diagnostic Laboratory in nearby Los Angeles which served African American physicians throughout the area. After nearly two decades, its profitable operations were disrupted by the “Watts Riots.” Shortly thereafter Johnson retired and closed the lab. Willard Johnson died in 1969 of cancer and is buried in Pasadena, with his wife Dorothy, who died of cancer ten years later.

Willard Johnson Sr. (1901-1969)