Black History 365: Clarence “Gatemouth” Brown

Clarence “Gatemouth” Brown’s music doesn’t elude categories. It embraces them. “An eclectic, a genre-weaver,” says The Boston Globe. “Jazz, blues, bluegrass, zydeco, cajun and calypso all fit into his panoramic worldview.” Gate is a multi-instrumentalist (guitar, violin, harmonica, piano, mandolin, viola and drums), but perhaps the most impressive aspect of his music is its variety. Gate sums it all up under the category of “American and World Music — Texas Style.”

Brown started crossing boundaries — both musical and geographical — at a very young age. He was born in 1924 in Vinton, Louisiana and raised in Orange, Texas. He learned guitar and fiddle from his father, a strong multi-instrumentalist who taught his son to play Texas fiddle music, traditional French tunes and even polkas. Gate began his professional career at the age of 21 as a drummer in San Antonio.

In 1947, Gate was in the audience at the Golden Peacock nightclub in Houston, when famed guitarist T-Bone Walker took sick and dropped his guitar onto the stage in the middle of a number. Gate leaped to the stage, picked up Walker’s axe and laid into one of his own tunes, “Gatemouth Boogie.” T-Bone was not amused by the young upstart, but the crowd went wild, tossing $600 at Brown’s feet in 15 minutes.

That stunt also got the attention of the club’s owner, a Houston businessman named Don Robey. Robey hired Gate to play the club and eventually became his manager. He teamed Gate with a swinging 23-piece orchestra and booked him into venues across the South and Southwest. Gate made his first records for Hollywood’s Alladin Records in 1947. When Alladin’s promotion and release schedules didn’t live up to expectations, Robey founded Peacock Records as an outlet for Gate’s music. Dozens of Brown’s records, including “Okie Dokie Stomp,” “Boogie Rambler,” “Just Before Dawn” and “Dirty Work At The Crossroads,” became big hits. Beginning with Gate’s hits, in a few years Peacock grew to become a major independent r&b record label, with an artist roster that included stars like Bobby “Blue” Bland, Junior Parker and Joe Hinton.

In the ’60s, Gate moved to Nashville to take part in a syndicated r&b television show called “The Beat,” which was hosted by local radio personality Hoss Allen. While in Nashville, Gate also recorded a series of country singles.

During a brief hiatus from music in the late sixties, Gate moved to New Mexico and became a deputy sheriff. It wasn’t long, however, before he was drawn to Europe by a newly developing blues audience there. In 1971, he travelled to France for his debut tour of that country. During the ’70s he toured Europe nearly a dozen times and recorded a total of nine European albums. The best cuts from three of those albums were later released in the U.S. by Alligator Records as PRESSURE COOKER, which subsequently received a Grammy nomination for Best Blues Recording in 1986.

Moving to New Orleans in the late ’70s, Gatemouth signed with Jim Bateman’s Real Records production company. His first-ever American album, BLACKJACK, was released in 1978 on the Music Is Medicine label. An appearance on the PBS-TV series “Austin City Limits” soon followed, and Gate began touring nationally again. In 1979, he teamed up with country music star Roy Clark for an MCA album, MAKIN’ MUSIC, which led to an appearance on the syndicated television program “Hee Haw,” and another appearance on “Austin City Limits.” More albums and television appearances followed, as well as a 1982 Grammy award for “Best Blues Recording” for ALRIGHT AGAIN! on the Rounder label. Gate also won his first Blues Music Award in 1982 for “Instrumentalist of the Year,” beginning a string of Blues Music Awards for his instrumental versatility.  A second Rounder Records release, ONE MORE MILE, and a reissue of THE ORIGINAL PEACOCK RECORDINGS followed in 1983. That same year he won another Blues Music Award when he was voted “Entertainer of the Year.”

Gate had two releases in 1986, Rounder’s REAL LIFE and Alligator’s Grammy-nominated PRESSURE COOKER, compiled of tracks cut in France during the 1970s. Gatemouth officially joined the Alligator roster in 1989 with STANDING MY GROUND, another Grammy nominee, featuring Gate backed by his red hot touring band. It was followed by the equally swinging 1991 release, NO LOOKING BACK.

In the last few years of his life, Gate continued his hectic touring schedule with performances across the U.S. as well as debut appearances in New Zealand and Australia. When asked by a New York Times reporter to explain his tours to such politically tense areas as Central America, Africa and the Soviet Union, Brown replied, “People can’t come to me, so I go to them.”

His knack for blending the various American music forms — jazz, blues, bluegrass, country, swing, funk and zydeco — coupled with his determination to bring his music to audiences around the world brought him praise from fans and the international media alike. Newsweek called him “a virtuoso talent.”

Gate passed away in Orange, Texas on September 10, 2005.

https://www.alligator.com/artists/Clarence-Gatemouth-Brown/

Black History 365: Ashleigh Johnson

Ashleigh Elizabeth Johnson (born September 12, 1994) is an American water polo player considered by many[2][3][4][5] to be the best goalkeeper in the world. She was part of the American team that won the gold medal at the 2015 World Aquatics Championships.[6][7] In 2016, she became the first African-American woman to make the US Olympic team in water polo. She was part of the gold-medal winning 2016 and 2020 U.S. women’s water polo Olympic teams.[8][9]

Early life

Johnson was raised by her mother, Donna Johnson. Johnson grew up with four siblings (three brothers and one sister), all of whom play water polo. Her brothers are Blake, Julius and William. Her younger sister Chelsea, is a 2 Meter player and played with Johnson at Princeton. Chelsea graduated from Princeton in 2018 and continues to be involved with water polo in Miami.[10][11] Ashleigh Johnson graduated from Princeton in 2017 with a bachelor’s degree in psychology.[12]

About her decision to play goalie in water polo, Johnson shared with Princeton Alumni Weekly her goalie origins trace back to her sister Chelsea:

I was just copying her, I wasn’t choosing to go in the goal because it was anything that appealed to me in particular.[13]

Water polo career

High school

Johnson was raised in Miami, Florida and attended Ransom Everglades School for high school. At Ransom Everglades, she was a four-year letter winner and starter on her school’s team guiding them to three consecutive Florida State Championships. She also earned All-Dade honors throughout career, while also earning all-county honors twice in swimming.[10]

As a senior, Johnson committed to play water polo at Princeton University.

Collegiate career

In her first year she was named Third-Team All American, while earning Honorable Mention as a sophomore in 2014, and Second Team as a junior in 2015.[10]

2016 Summer Olympics

See also: Water polo at the 2016 Summer Olympics

Johnson was the first African-American woman to make the US Olympic water polo team when she made the team for the 2016 Summer Olympics.[14] The geographical diversity Johnson brought to the team, she was the only team member not from California, was highlighted by SwimSwam before the Olympic Games.[15] Her age, 21 years old, and with her sub-Saharan African ancestry, she identifies as Black, were highlighted by Sports Illustrated leading up to the 2016 Olympic Games.[16] She helped the team win the gold medal at the Olympic Games.[14]

Orizzonte Catania, Italy

From January 2018 she has been hired by the Orizzonte Catania, the most titled club in Europe in recent times. She lives and trains in Italy for Orizzonte Catania during the season, training in the United States in the off-season.[17]

Ethnikos Piraeus, Greece

For the 2021-22 season, she is the goalkeeper of Greek Ethnikos Piraeus, a club with big tradition in Greek waterpolo. [18] On March 30, she won the Women’s LEN Trophy with Ethnikos Piraeus. That was the second time Ethnikos has won the title, thus becoming the Greek team with the most in the competition. Meanwhile, that was Johnson’s first European club competition title.

Awards

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

Black History 365: What do reparations mean to me?

Photos: What do reparations mean to me?

November 6, 20221:14 PM ET

Dee Dwyer

When photographer Dee Dwyer attended the Rally 4 Reparations in Washington, D.C., she heard from people across the country about what reparations from slavery in the United States means to them.

Here is what she was told.

A large crowd turned out for the Rally 4 Reparations.

Dee Dwyer for NPR

Ishia House and Mikos Dickerson

Dee Dwyer for NPR

“Reparations mean acknowledgement. It’s acknowledgement and proof of everything that I’ve been learning, everything that I’ve been teaching my children. That we are the builders and the creators of everything and just that we’ve been taught lies and to get reparations, like I said, it’s acknowledgment of truth.”

Ishia House, Oakland, Calif.

“It means to me really, freedom. Like we’re free to do whatever it is we want. We don’t have to count on nobody else to help us. We don’t have to sit around and just wait for anything, no welfare. We don’t have to do all that. We just take care of our own. And it shortens up the wealth gap. It makes us more independent.”

Mikos Dickerson

Rally 4 Reparations attendees work to raise awareness about reparations.

Dee Dwyer for NPR

Mensah Chidubem, left, and Imrah Knotti

Dee Dwyer for NPR

“Reparations, it means that we deserve our money back for the wrong that was done to us. We built the entire country. We created almost everything we use today. Everything we use, we created. And we didn’t get a dime off of it. So I believe reparations is the money that we deserve for building the country that the hell we put through, etc.”

Mensah Chidubem

“That’s the first time I’ve been asked this question. But if I had to sum up and make it short, of course, is to try to correct a wrong that was done to my people, my ancestors. But it’s also a debt that needs to be paid that can help further the generations that come out.”

Imrah Knotti, Baton Rouge, La.

Kevin Belnavis

Dee Dwyer for NPR

“What reparations means to me is the payback for 400 years of slavery, Jim Crow and non-stop brutality that has been going on ever since. We need some kind of reparations to take care of future generations. It may not be around for me, but the future, our future, is in the hands of our youth. And that’s what’s most important.”

Kevin Belnavis, New Brunswick, New Jersey

Host of the Rally 4 Reparations Tariq Nasheed speaks to the crowd.

Dee Dwyer for NPR

A Rally 4 Reparations attendee listens as host Tariq Nasheed speaks on the importance of reparations.

Dee Dwyer for NPR

(Left to right) I am T Shirts Brandi Wilcox, Elizabeth Gainous and Marva Dix traveled from Ohio to attend the Rally 4 Reparations.

Dee Dwyer for NPR

Speaker Dr. Kaba Kamene

Dee Dwyer for NPR

“Reparations is for our children. For the children yet to be born. The children in 100 years, what will they inherit from us? Not just our legacy, but there’s also a financial situation that we have to take care of. Someone’s got to cut the check for what our ancestors did for them.”

Dr. Kaba Kamene

Attendees listen Dr. Kaba Kamene deliver his speech.

Dee Dwyer for NPR

Tierra ‘Syren’ Jackson

Dee Dwyer for NPR

“To me, reparations means getting tangibles for making amends for the wrongs our ancestors had to go through for hundreds of years. We need to be paid money to continue to build back up people that has been beaten down after beat down. And even though we’ve been beaten down, we’re still persevering regardless. But we need that anti-black hate crime bill now.

Tierra ‘Syren’ Jackson, Washington, D.C.

Rally 4 Reparations attendees listen to Dr. Kaba Kamene deliver his speech.

Dee Dwyer for NPR

Stephen Williams attends the Rally 4 Reparations.

Dee Dwyer for NPR

“Reparations means atonement as well as restitution for wrongs that have happened in the past as well as what is currently happening right now. Cash payments. Not only are the native black Americans of this country owed reparations in the form of monetary value, but we have also been systematically gentrified what I like to call like, a four pronged attack. We’re attacked on the economic level, we’re attacked on the medical level. We’re attacked when we go to get a job, and we’re definitely attacked in the society when they deputize the citizens against us. So we need to create our own foundation in order to ratify some of the things that have become normal.”

Stephen Williams, Germantown, Md.

Attendees listen at the Rally 4 Reparations.

Dee Dwyer for NPR

Attendees listen to Dr. Kaba Kamene.

Dee Dwyer for NPR

Dee Dwyer is a photographer from Southeast, Washington, D.C. who covers wards 7 and 8 for DCist.

https://www.npr.org/sections/pictureshow/2022/11/06/1134594807/photos-what-do-reparations-mean-to-me

Black History 365: Lois Curtis

Attorney Sue Jamieson was touring a grim state hospital in Georgia three decades ago when she was introduced to a young woman, Lois Curtis, who’d spent much of her teen years and early 20’s in state institutions.

“As we always say, ‘What is it you think we could do for you? I work at Legal Aid. And I’m a lawyer,'” Jamieson recalled for an oral history for her employer, the Atlanta Legal Aid Society. “And she’d say: ‘Get me out of here. Would you please get me out of here? When am I getting out of here?'”

Curtis, who had an intellectual disability and was diagnosed with mental illness, kept calling Jamieson from the hospital, asking when she could get out.

The lawsuit that Jamieson filed on behalf of Curtis and another woman – L.C. v. Olmstead – led to a landmark Supreme Court decision benefitting elderly and disabled people, and ultimately helped Curtis move out of institutional care and into her own home.

Curtis, 55, died in her own home outside of Atlanta on Thursday. The cause was pancreatic cancer.

The Supreme Court ruled in 1999, in a decision delivered by Justice Ruth Bader Ginsburg, that Curtis, her co-plaintiff Elaine Wilson and other people with disabilities had a right—under the Americans with Disabilities Act—to live in a “less restrictive setting.”

The landmark civil rights case gave disabled and elderly people a right to seek long-term care services in their own home, instead of in an institution like a nursing home or a psychiatric hospital.

Curtis “created a sea change in what our service systems look like,” says Alison Barkoff, the top federal official for aging and disability policy.

“We went from a system in 1999 that the only places that most people with disabilities and older adults could get services were in institutions like nursing homes and psychiatric hospitals, to systems that are primarily focused on supporting people with services in their own homes,” says Barkoff, the acting administrator and assistant secretary of aging at the Administration for Community Living at the U.S. Department of Health and Human Services.

After the Olmstead decision, state Medicaid budgets shifted. Today, more money goes to pay for care at home. Less government funding goes to pay for care in institutions.

Federal law makes nursing home care an entitlement for people who meet the eligibility requirements for Medicaid. Home-based care, although it is more popular and became a right under the Olmstead decision, is not an entitlement.

As a result, there are long waiting lists for care at home—at least 700,000 people waiting in some 40 states. But the Olmstead decision requires every state to move toward providing more of that care at home.

The Olmstead decision is cited in scores of lawsuits to get others out of institutional care. And its use has spread. The U.S. Department of Justice, in the Obama Administration, applied the decision’s wording that people with disabilities are entitled to live in the “less restrictive environment” to sue to end segregated work programs that pay people with disabilities a sub-minimum wage. Now parents use Olmstead to assert their children should be in integrated classrooms.

The argument behind the Olmstead decision was that when people live fully integrated in their communities, they live better, more fulfilling lives.

Curtis proved it. She moved into a series of houses, needing help from a caregiver with things like cooking, shopping and other care. And there she discovered her talent as an artist—something she didn’t get to develop when she lived in state hospitals.

Curtis made pencil and pastel drawings of animals and flowers. And sometimes she drew people whose pictures she saw in magazines and books—like a serious Martin Luther King with his arms crossed or a shirtless, young Muhammad Ali.

In 2011, she was invited to the White House on the anniversary of the Olmstead decision. She presented President Barack Obama a framed picture she called “Girl in an Orange Dress.” It was one of a series of self-portraits Curtis did of herself as a young girl, because she had no photographs from the years she lived in the state psychiatric hospitals.

Curtis used her artwork to meet people, says Lee Sanders, who was first hired to help Curtis find work and then became a friend. Curtis, Sanders wrote, “created artwork as she lived: Her lines drawn without hesitation, her colors bold and saturated, her images uncomplicated and spirited.”

Curtis was very social and, with her quick smile, was gifted at making friends. They bought her art supplies and helped her sell her art work.

When Curtis died on Thursday, she was surrounded by many of those friends.

In a video she made for the National Disability Rights Network in 2020, Curtis said: “My name is Lois Curtis… I’m glad to be free.”

https://www.npr.org/2022/11/05/1134426128/lois-curtis-who-won-a-landmark-civil-rights-case-for-people-with-disabilities-di

Black History 365: African scientists say Western aid to fight pandemic is backfiring. Here’s their plan:

“The WHO is,” says Oyewale Tomori, “well, I know the W stands for World, but sometimes I think it stands for White.”

Tomori is a virologist at Redeemer’s University and the past president of the Nigerian Academy of Sciences. I had asked whether he was surprised that high-income countries were buying up monkeypox vaccine supplies and WHO was sharing its vaccines with 30 non-African countries, leaving the continent without access.

“Are you surprised when the sun rises every morning?” Tomori retorts.

He tries not to get too upset about global health inequities because he thinks they’re inevitable. The real issue, he says, is that African countries rely too much on the West — which is not exactly a formula for success. For one, Tomori says, Western aid always comes too little, too late. But more important, he stresses, “your help is not helping us. It’s making us more dependent.”

Fed up with their countries’ inadequate responses to Ebola, COVID-19 and now monkeypox, a growing movement of African scientists is advocating for improved biosecurity on the continent – that is, protection against pathogens.

To better understand their grassroots effort, I spoke with Tomori; Jean-Vivien Mombouli, director of research and production at the Congolese National Public Health Laboratory; and Christian Happi, director of the African Centre of Excellence for Genomics of Infectious Diseases in Nigeria. I wanted to learn, more specifically, what they think Africa should be doing to contain infectious diseases. They offered three key ideas: developing community-based disease surveillance; building capacity to produce protective gear, vaccines, and other pandemic-busting tools; and investing more in health-care workers.

The elephant in the room is whether achieving all this is even possible since African public health systems have long been underfunded. As one example, African Union member states pledged to spend 15% of their national budgets on health in the 2001 Abuja Declaration. Two decades later, that’s happened in only five countries: Ethiopia, Gambia, Malawi, Rwanda and South Africa.

Nonetheless, Tomori rejects the notion that Western philanthropy is the answer. “Don’t buy the story that Africa is poor,” he says. “We’re not poor; it is that we’re not making good use of what we have.”

But change is possible. And in fact, it’s already begun.

Teach communities to keep an eye out

One of the primary steps toward biosecurity is comprehensive disease surveillance to help rapidly identify and contain novel pathogens — this includes the health-care system treating patients, public health labs conducting tests and epidemiologists coordinating the response. While the World Bank has invested hundreds of millions of dollars in Africa for this purpose, Mombouli says the continent still doesn’t have sufficient surveillance in its more rural regions, enabling viruses to spread undetected throughout.

Perhaps the most infamous example was during the West African Ebola epidemic when it took nearly three months to identify the virus in Guinea. WHO reported that the country took so long because “Clinicians had never managed cases. No laboratory had ever diagnosed a patient specimen. No government had ever witnessed the social and economic upheaval that can accompany an outbreak of this disease.” So when the virus was finally identified as Ebola, it was already “primed to explode.”

Mombouli also gives the example of Likouala Prefecture, a swampy area in northern Congo and one of the poorest, least developed regions in the country. He calls Likouala a “paradise for pathogens,” rife with everything from the disease-causing bacteria treponema to the viral disease Rift Valley Fever. “You know something terrible is going to come out of that area,” he says. Without proper pathogen monitoring, it’s only a matter of time.

Correspondingly, Tomori thinks African countries should revamp their centralized disease surveillance systems. Surveillance shouldn’t be concentrated in the national headquarters of public health agencies, he says, “1,000 miles away from where disease is occurring.” He instead advocates for a decentralized, bottom-up approach where every individual stands watch over their community’s health — and knows how to get help if they suspect something’s wrong .

Public health agencies will still have an important role to play, empowering locals with educational programs and coordinating the response, Tomori adds. Indeed, the best early warning system might come from those living on the frontlines of novel diseases. “If you take care of that first case, you can prevent an epidemic,” he says.

Mombouli has seen this work firsthand in the Republic of Congo where his team of education and health specialists have been visiting villages across the country for decades. In 2009, they conducted monkeypox outreach in Likouala Prefecture over 90 days, reaching 24,000 rural individuals. After these visits, the ability of locals to recognize at least one of the symptoms of monkeypox increased from 49% to 95% while their willingness to take a family member with monkeypox to the hospital increased from 45% to 87%, as reported in a study published in PLOS Neglected Tropical Diseases.

Mombouli’s team similarly visited 268 villages in northern Republic of Congo between 2008 and 2018; they were trying to establish community-based surveillance system for Ebola. They educated locals about the virus and how it could spread through infected wildlife carcasses, emphasizing the core message: “Do not touch, move or bury the carcass and contact the surveillance network immediately.”

With trust built over repeated visits, local hunters began to report the carcasses they found so that the network could test them for Ebola. The end product was a surveillance system that covered 50,000 square kilometers of the most rural regions in the Republic of Congo.

“It’s not like they swallow whatever ‘truths’ you tell them. They ask tough questions,” Mombouli says about his fellow Congolese. “But once they get it, they transmit the information and really have proper behavior.” According to Mombouli, enlisting the active support and vigilance of community members can enable early disease detection and containment.

Build a ‘value chain’ to create needed epidemic resources

Beyond detecting pathogens early, African countries need the resources to mount a robust response against infectious diseases, from personal protective equipment to antivirals to vaccines. Unfortunately, “the medical equipment and supplies needed,” the Africa Centers for Disease Control and Prevention noted in a press release, “are largely manufactured outside Africa.”

As such, Mombouli thinks the continent should develop its own epidemic “value chain,” a term referring to the entire manufacturing process from acquiring raw materials to distributing finished products. Presently, a few African manufacturers have experience making vaccines from start to finish, including the Biovac Institute in South Africa, which produces a hepatitis B vaccine, and the Institut Pasteur de Dakar in Senegal, which produces a yellow fever vaccine.

But building the value chain for novel health threats has proved more elusive. In the case of COVID-19, for instance, mRNA vaccine technology is a closely guarded secret.

Nonetheless, the Biovac Institute and Institut Pasteur de Dakar have begun to produce COVID-19 vaccines in Africa with fill-and-finish plants. In other words, given all the ingredients from Pfizer-BioNTech, these manufacturers fill up vials with vaccine doses and package them for distribution. Since Africa currently imports 99% of all its vaccines, this is an important step toward domestic production, says Mombouli, but he emphasizes that this model is inherently vulnerable since it’s only the last step in the value chain.

“If the company decides to move out,” he says, “then we go back to square one.” As one concrete example, Johnson & Johnson partner Aspen Pharmacare may soon shut down its South African plant making COVID-19 vaccines because of insufficient demand due to hesitancy and difficulties distributing the vaccine (among other reasons ).

What’s the solution? There’s something called the hub-and-spoke model, where one “hub” aggressively develops novel vaccine technology and then freely transfers it to the “spokes,” local manufacturers that can scale up production. Currently under development, this strategy adopts the philosophy that Africa’s value chain must be independent of high-income countries.

Last year, WHO chose South African biotech company Afrigen to be the hub for mRNA technology transfer, and 15 spokes have since been identified across various low- and middle-income countries, including six in Africa. Although Moderna and Pfizer-BioNTech refused to share their technology and expertise, Afrigen used publicly available information to make their own version of the mRNA vaccine — one that doesn’t require cold storage — and already started training the spokes. The ultimate promise, Mombouli suggests, will be African countries using novel vaccine technology to contain diseases that are spreading on the continent in particular.

Undoubtedly, this will take time, with Afrigen expected to enter clinical trials later this year and vaccine approval coming in 2024, but much can be done in the interim. Beyond fill-and-finish operations, Tomori says that African countries can identify other aspects of the value chain where they can start contributing immediately. For instance, one might manufacture glass vials, another rubber stoppers, another testing swabs and so on. Each country doesn’t need to produce everything end-to-end, but Tomori says they should all be starting somewhere instead of patiently waiting for international aid.

“It is not talking; it is doing. It is not consuming; it is contributing,” he adds. “If you bring nothing to the table, you get the foolish deal.”

Invest in health-care workers

While community-based surveillance and building the value chain might allow some epidemic independence, Happi believes that biosecurity can only be sustained by investing in public health professionals. African countries should thus aggressively train field epidemiologists, Ph.D. scientists and frontline health-care workers — such as doctors, nurses, and midwives — “to build capacity on the ground,” he says.

According to WHO’s latest available data on 47 African countries, in 44 there is not even 1 physician per 1,000 people, with Niger the lowest at 0.035 physicians per 1,000. If you include nurses and midwives in the estimate, Africa’s density increases slightly but only to 1.55 health-care workers per 1,000.

By comparison, the United States has 26.1 physicians per 1,000 people.

Part of the problem is that, of the 47 countries in sub-Saharan Africa, six of them don’t even have a single medical school while 20 countries only have one. By 2030, WHO estimates that Africa will be short 6.1 million health-care workers, relative to the Sustainable Development Goal threshold of 4.45 health-care workers per 1,000 people.

But things are beginning to change. Namibia, for instance, is one of four African countries that has surpassed the WHO threshold — with 10.28 workers per 1,000.

This fledgling success stems from government prioritization. In a recent paper in World Health and Population, authors from Namibia’s Ministry of Health and Social Services described how they used a WHO tool to diagnose the country’s staffing shortcomings. With this data, they made evidence-based decisions about expanding nurses’ scope of practice and redeploying health-care workers to the regions of most need.

Admittedly, this policy helps improve only the efficiency of Namibia’s health-care system without increasing the number of providers. But in 2010, the University of Namibia established the country’s first school of medicine and has since trained hundreds of practicing doctors “who can respond to the healthcare needs of the Namibian people and are advocates for the poor, underserved and marginalised in our society,” according to associate dean Felicia Christians. A call from Namibia’s founding president to invest 50% of the national budget in education and health care emphasizes the country’s steadfast commitment to progress.

While it’s critical to continue building more medical institutions, such as the Kenyan General Electric (GE) Healthcare Skills and Training Institute and the University of Global Health Equity in Rwanda, there must also be a focus on retention.

In a 2011 study in the British Medical Journal, it was estimated that sub-Saharan African countries lost $2 billion (in terms of returns on educational investment) because doctors trained on the continent moved abroad. “Africa has to look inward and start paying people the salary they deserve,” Happi asserts, “so that they don’t leave the continent for elsewhere.” As one example, the Zimbabwean Nurses Association says that most nurses in the country earn only $53 a month, a salary lower than the World Bank’s international poverty line.

While better pay might be the lynchpin, other incentives could include a mix of personal benefits and career improvements: housing, land ownership, modern equipment and pathways for professional growth, according to Kasonde Bowa, dean of Copperbelt University School of Medicine in Zambia. And if the brain drain still persists, Happi thinks that Western countries should start reimbursing the continent for its educational expenses, given that it costs African countries between $21,000 to $59,000 to train one doctor.

This wouldn’t necessarily stop the exportation of health-care workers, but having the West fork over the money could help African countries replenish their workforce. “People should be honest enough to say that you cannot deplete a continent of its own resources,” Happi says.

A new goal: collaboration, not just donation

Tomori sees cause for optimism in building African biosecurity: the continent already has the community leadership, natural resources and intellectual capital for change, he says. Yet these ingredients are not enough on their own: “Good governance is what we need to create an enabling environment for our people.”

That’s not to say African-Western partnerships shouldn’t be pursued. After all, it was Sikhulile Moyo, the laboratory director at the Botswana-Harvard AIDS Institute Partnership and a research associate with the Harvard T.H. Chan School of Public Health, who first identified the omicron variant. Similarly, Happi collaborates with Broad Institute computational geneticist Pardis Sabeti, and together they deployed COVID-19 tests in hospitals in Nigeria, Senegal and Sierra Leone well before any U.S. hospital had them. Partners in Health also recently announced plans for the $200 million Paul E. Farmer Scholarship Fund, which will support students at the University of Global Health Equity in order to “educate future health care leaders in Africa.”

Collaboration, not donation, is what pushes the needle forward, Tomori stressed – echoing other scientists interviewed for this story.

“There is a need for us to take those pathogens, harness the novel technologies and then translate knowledge into tools that can help not only Africa but the globe,” Happi says. “Africa should be in the driver’s seat when it comes to pandemic preparedness and preemption.”

https://www.npr.org/sections/goatsandsoda/2022/11/04/1133319628/african-scientists-say-western-aid-to-fight-pandemic-is-backfiring-heres-their-p

Black History 365: Derrick “D’Mar” Martin

Derrick “D’MAR” Martin’s is standing between two worlds where the gap grows by the day and D’MAR is the epicenter .He is simply a force of nature.  D’MAR is a musician, producer, songwriter, singer, educator, entertainer and motivational speaker. He has been traveling the world and spent 17 years as the lead drummer for the legendary Little Richard. D’MAR has also worked with a number of other artists such as: Dorothy Moore, Bobby Rush, Vastie Jackson, Ali Woodson (The Temptations), Big Jack Johnson, Billy Preston, Roy Gaines, Mitch Woods, Mark Hummel, Jackie Payne, Kid Andersen, Syl Johnson, Bob Margolin, Carla Thomas, Wendy Moten and Tutu Jones just to name a few. 

His career started when most of us were still playing with skateboards and riding Big Wheels. From the moment he beat on his mother’s couch at the age of five to the present, D’MAR has done what he loves to do: perform and play the drums. It was natural for him to be “All-City Band”, first chair in the percussion section and section leader before he was an upper classman in high school. What is more amazing is after working at a local record store for a couple of months while in college, he decided to fulfill a childhood dream and goal: he would play drums for a living and work for himself. As it would happen, D’MAR had an opportunity to audition for the living legend, Little Richard in which he got the drummer spot in the band! 

Within three years, he was the lead drummer and the youngest member of the Little Richard band. Even though he was young and surrounded by fame and fortune, the lifestyle he lived was not one of great jet setting. He took the time to learn the craft from one of the founding fathers of Rock and Roll. He began to develop his Berry Gordy business acumen and learned to identify business opportunities, which led him to open several businesses, which are still active today. 

17 years later, D’MAR has traveled globally, entertained amongst the hottest stars, and served as co-owner of Airtight Productions for twenty years and put together one of the most innovative music education programs ever seen. Not only is D’MAR in the business of producing, being an artist, teacher and musician, in 2009, he landed a role in the movie Chess: Who do You Love in which he plays Muddy Waters’ drummer, “Elgin Evans”. He is currently a member of the award winning band, Rick Estrin & The Nightcats and continues to release his own solo records. Despite his full schedule and full life, D’MAR gives back to his community through volunteering with the youth arts programs. He has also created music education program called Drums & More, which he performs for schools throughout the world. D’MAR is currently a member of the prestigious arts organization, Young Audiences of Northern California, based in San Francisco, CA. 

 Drums & More is a clinic and lecture series of unique caliber. Whereas some people speak from either an educational or a practical perspective, D’MAR’s program offers the best of both worlds. Drums & More is an informative and energetic program that is covers the history of the drum set and helps inspire students to embrace arts & education. 

This program goes hand in and with a new venture called Building A Better You that focuses on arts, education and health. 

D’MAR is continuing to grow and refine his craft. As he does so, he is always finding ways to share his lessons whether it is from the stage, in the studio or in the classroom.

https://dmarmusic.com/bio

Black History 365: Frederick McKinley Jones

Frederick McKinley Jones was a prolific early 20th century black inventor who helped to revolutionize both the cinema and refrigeration industries.  Between 1919 and 1945 he patented more than sixty inventions in divergent fields with forty of those patents in refrigeration. He is best known for inventing the first automatic refrigeration system for trucks.

Jones was born on May 17, 1893 in Cincinnati, Ohio.  His mother died when he was nine, and he was forced to drop out of school.  A priest in Covington, Kentucky, raised him until he was sixteen.

Upon leaving the rectory, Jones began working as a mechanic’s helper at the R.C. Crothers Garage in Cincinnati.  Jones would spend much of his time observing the mechanics as they worked on cars, taking in as much information as possible.  These observations, along with an insatiable appetite for learning through reading helped Jones develop an incredible base of knowledge about automobiles and their inner workings. Within three years his skills and love for cars had netted him a promotion to shop foreman.  By nineteen, he had built and driven several cars in racing exhibitions and soon became one of the most well know racers in the Great Lakes region.

During World War I, Jones was a sergeant in the U.S. Army and served in France as an electrician. While serving, he rewired his camp for electricity, telephone, and telegraph service.  In 1919, after being discharged by the Army, he moved to Hallock, Minnesota where he began his study of electronics, eventually building a transmitter for a local radio station.  To make ends meet, Jones often aided local doctors by driving them around for house calls during the winter season. When navigation through the snow proved difficult, Jones attached skis to the undercarriage of an old airplane body and attached an airplane propeller to a motor.  He was soon whisking doctors around town at high speeds in his new “snow machine.”

Over the next few years he would invent more and more innovative machines.  When one of the doctors he worked for complained that he had to wait for patients to come into his office for x-ray exams, Jones created a portable x-ray machine that could be taken to the patient. Unfortunately, like many of his early inventions, Jones never thought to apply for a patent.  He watched helplessly as other men made fortunes off of their versions of the same device. Impervious, Jones began new projects including a radio transmitter, personal radio sets, and eventually motion picture devices.

In 1927, Joseph Numero, the head of Ultraphone Sound Systems, hired Jones as an electrical engineer.  Numero’s company made sound equipment that was used in movie houses throughout the Midwest.  Always the innovator, Jones converted silent-movie projectors into talking projectors by using scrap metal for parts.  In addition, he devised ways to stabilize and improve the picture quality.

In 1939, Jones invented and received a patent for an automatic ticket-dispensing machine to be used at movie theaters. He later sold the patent rights to RCA.

Eventually, Numero and Jones formed a partnership called the U.S. Thermo Control Company, with Jones as vice president.  He was given the task of developing a device that would allow large trucks to transport perishable products without spoiling. Jones set to work and his automatic refrigeration system, the Thermo King, was born.  Eventually, he modified the original design so it could be outfitted for trains, boats, and ships.

The Thermo King transformed the shipping and grocery businesses. Grocery chains were now able to import and export products that previously could only have been shipped as canned goods. As a result, the frozen food industry was born and for the first time consumers could enjoy fresh foods from around the globe and U.S. Thermo became a multimillion-dollar company.

During World War II, a need for a unit for storing blood serum for transfusions and medicines led Jones into further refrigeration research.  For this, he created an air-conditioning unit for military field hospitals and a refrigerator for military field kitchens.  As a result, may lives were saved.  A modified form of his device is still in use today.

In 1944, Jones became the first African American to be elected into the American Society of Refrigeration Engineers.  During the 1950s, he was a consultant to the U.S. Department of Defense and the U.S. Bureau of Standards.

When he died on February 21, 1961, Jones had more than sixty patents.  In honor of his tremendous achievements as an inventor, he was posthumously awarded the National Medal of Technology.  Jones was the first black inventor to ever receive such an honor.

Black History 365: Skye Blakely

Birthdate: 2/4/2005
Program: Women’s Artistic
Level: Senior
Current Residence: Frisco, TX
Club: WOGA Gymnastics
Head Coach: Yevgeny Marchenko
Other Coaches: Haiou Sun and Emmanuel Domingues

Career Highlights

  • 2022 Winter Cup all-around & floor exercise silver medalist and balance beam bronze medalist
  • 2021 Winter Cup balance beam champion

About Skye Blakely

Birthplace: Dallas, TX
Hometown: Frisco, TX
Twitter:@skyeblakely_
Instagram:Instagram.com/skyeblakely
Name of High School: N/A
High School Graduation Year: 2023
Name of College: University of Florida
College Graduation Year: 2027
Degree/Major: N/A
Year you began gymnastics: 2008
Favorite Event: Bars!
How did you get involved in gymnastics: My mother wanted to add another activity in addition to ballet and tap.
Favorite thing about gymnastics: I like being able to show the skills that I’ve been working on and I like that it challenges me.
What are your goals for gymnastics?: To compete at the 2024 Olympics and in the NCAA
Names of parents/guardians/spouse: Steven and Stephanie Blakely
Names of sibling(s): Sloane Blakely
Family members in sports: Sloane Blakely

Interests Outside the Gym

Favorite school subject: Math and Science
Hobbies or favorite activities: listening to music, buying shoes, and hanging with friends
Favorite music: Hip Hop, R&B, Gospel
Favorite book(s): The Hate U Give
Favorite movie(s): Black Panther
Favorite TV show(s): Stranger Things
Favorite Food: Chicken and Waffles
Charity Involvement: N/A
Other sports involvement: N/A

National Competition Results

  • 2022 OOFOS U.S. Gymnastics Championships, Tampa, Fla. – 5th-UB; 6th-AA, FX
  • 2022 Winter Cup, Frisco, Texas – 2nd-AA, FX; 3rd-BB(T); 7th-UB
  • 2021 U.S. Gymnastics Championships, Fort Worth, Texas – 7th-AA(T); 8th-BB
  • 2021 GK U.S. Classic, Indianapolis, Ind. – 3rd-UB; 7th-AA, FX(T)
  • 2021 American Classic, Indianapolis, Ind. – 1st-AA; 2nd-BB; 4th-VT, UB, FX
  • 2021 2021 Winter Cup, Indianapolis, Ind. – 1st-BB; 8th-FX(T)
  • 2019 U.S. Gymnastics Championships, Kansas City, Mo. – 2nd-BB(T); 3rd-FX; 4th-AA; 6th-VT(T); 8th-UB (Jr. Div.)
  • 2019 GK U.S. Classic, Louisville, Ky. – 1st-FX; 2nd-VT; 4th-AA (Jr. Div.)
  • 2018 U.S. Gymnastics Championships, Boston, Mass. – 2nd-FX; 3rd-VT; 4th-AA; 5th-UB; 8th-BB (Jr. Div.)
  • 2018 GK U.S. Classic, Columbus, Ohio – 3rd-VT; 6th-AA (Jr. Div.)
  • 2018 American Classic, Salt Lake City, Utah – 2nd-UB; 3rd-AA, VT; 5th-FX(T) (Jr. Div.)

International Competition Results

  • 2022 Pan American Championships, Rio de Janeiro, Brazil – 2nd-Team; 3rd-AA, FX; 4th-UB; 7th-BB
  • 2022 DTB Pokal Cup, Stuttgart, Germany – 1st-Team
  • 2020 Gymnix International, Montreal, Canada – 1st-Team, AA; 2nd-VT, UB, BB; 3rd-FX (Jr. Div.)
  • 2019 Junior World Championships, Gyor, Hungary – 3rd-Team; 4th-UB; 5th-FX
  • 2019 Gymnix International, Montreal, Canada – 1st-Team, VT, UB; 3rd-AA (Jr. Div.)

https://usagym.org/pages/athletes/athleteListDetail.html?id=496577

Black History 365: Albert I. Cassell

Albert Irvin Cassell (1895–1969) was a prominent mid-twentieth-century African-American architect in Washington, D.C., whose work shaped many academic communities in the United States. He designed buildings for Howard University in Washington D.C., Morgan State University in Baltimore, and Virginia Union University in Richmond. Cassell also designed and built civic structures for the State of Maryland and the District of Columbia.

Early life

Albert Irvin Cassell was born in Towson, Maryland, on June 25, 1895, the third child of Albert Truman Cassell and Charlotte Cassell. His father Albert T. Cassell was a coal truck driver and his mother Charlotte Cassell aka “Lottie” was a laundress. Albert Cassell began his education in the segregated Baltimore public school system, but moved to New York in 1909 where he began attending Douglas High School. At Douglas High, Cassell studied drafting under Ralph Victor Cook. With Cook’s assistance, Cassell was admitted to the Cornell University architecture program in 1915, where he was a member of Alpha Phi Alpha.[1]

After completing two years at Cornell, Cassell’s studies were interrupted by service in the US Army in World War I. He served in France, but not in combat, and was honorably discharged in 1919 as a second lieutenant in the 351st Heavy Field Artillery Regiment. In 1919 Cassell was awarded his degree from Cornell University, and began his career working with architect William A. Hazel. In 1920, Mr. Cassell joined in the Architecture Department of Howard University as assistant professor. Just two years later, in 1922, Cassell had become University Architect and head of the Architecture Department at Howard.

Career

Cassell worked at Howard University for eighteen years, serving as an instructor, land manager, surveyor, and architect. Cassell’s vision and work helped shape the campus through his “Twenty Year Plan”, through which he designed numerous campus buildings. His most important design at Howard, was the Founders Library, a building which evoked both the Georgian architecture revival style and Independence Hall in Philadelphia. This building would become an architectural and educational symbol for the university.

While at Howard, Cassell also designed buildings for other institutional clients. His work included buildings at Virginia Union University, Provident Hospital in Baltimore, various Masonic temples, as well as smaller works for select commercial and residential clients.

Following his time at Howard University, Cassell went on to design several buildings for Morgan State College (now Morgan State University) in Baltimore. In his later years he joined with other African-American architects to form the firm of Cassell, Gray & Sutton. He went on to work for several other large clients such as the Roman Catholic Archdiocese of Washington and the government of the District of Columbia.

As his final project, Cassell sought to develop Chesapeake Heights on the Bay, a 520-acre (2.1 km2) summer resort community for African-Americans in Prince Frederick, Calvert County, Maryland. The project was to feature houses, a motel, shopping centers, a pier, a marina, beaches, and a clubhouse fronting the Chesapeake Bay. Roads and a few homes were built by 1969, but the project ended with Cassell’s death in that same year.

Legacy

At a young age Albert Cassell determined that his children would all go to Cornell and all become architects.[2] Cassell had 8 children.[3] Four children would attended Cornell; Charles Cassell (’46), Martha Cassell (’47) Alberta Jeannette Cassell (’48) Paula Cassell (’76).[2] Of the Cornell graduates, all but Paula became architects.

Works

  • Campbell Ave Church, Washington, DC, 1917
  • Carver War Public Housing, Arlington, VA, 1942
  • Catholic Diocese, Washington, DC
  • Corinthian Baptist Church, Washington, DC
  • Crownsville Hospital Housing & Recreation Center, Crownsville, MD, 1950
  • Glenarden City Hall, Glenarden, Maryland
  • Howard University Armory, Washington, DC, 1925
  • Howard University Baldwin Hall, Washington, DC, 1951
  • Howard University Chemistry Building, Washington, DC, 1936
  • Howard University College of Medicine, Washington, DC, 1927
  • Howard University Crandall Women’s Dormitory, Washington, DC, 1931
  • Howard University Dining Hall, Washington, DC, 1922
  • Howard University Douglas Men’s Dormitory, Washington, DC, 1936
  • Howard University Founders Library, Washington, DC, 1937
  • Howard University Frazier Women’s Dormitory, Washington, DC
  • Howard University Greene Stadium and Football Field, Washington, DC, 1926
  • Howard University President’s Home, Washington, DC
  • Howard University Truth Women’s Dormitory, Washington, DC
  • Howard University Wheatley Hall, Washington, DC
  • Howard University Women’s Gym, Washington, DC
  • James Creek Public Housing, Washington, DC
  • Mayfair Garden, Washington, DC
  • Mayfair Mansions Apartments, (built 1938), 3819 Jay St., NE., Washington, DC, NRHP-listed
  • Morgan State College (various buildings), Baltimore, MD
  • Odd Fellows Temple, Washington, DC and Baltimore, MD, 1932
  • Prince Hall Masonic Temple, 1000 U St., NW, Washington, DC, NRHP-listed
  • Provident Hospital, Baltimore, MD, 1928
  • Seaton Elementary School, Washington, DC
  • Soller’s Point War Housing, Dundalk, MD
  • St. Paul’s Baptist Church, Baltimore, MD
  • Tuskegee Institute Trade Buildings, Tuskegee, AL
  • Virginia Union Hartshorn Dormitory, Richmond, VA, 1928
  • Wheatley YMCA, Washington, DC

Two of Cassell’s Washington, DC works, the Mayfair Mansions Apartments and the Prince Hall Masonic Temple, are listed on the U.S. National Register of Historic Places.[4]

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

Black History 365: Dr. Khara Gresham

Khara C Gresham, DMD, MPH  

Dr. Gresham received her Bachelors of Science from Brown University in 2010. She received her Doctorate in Medical Dentistry at Tufts University School of Dental Medicine in 2014, followed by her Masters in Public Health in 2015 from Tufts University School of Medicine. She has been a practicing clinician incorporating public health practice into dental care since her graduation in 2014. Dr. Gresham is a member of the American Dental Association, Massachusetts Dental Society, and the National Dental Association.

Dr. Gresham focus is providing comprehensive dental care to her patients through a variety of services as well as including patients in the decision making process. Outside of dentistry she enjoys spending time with family and friends, travel and running.

https://www.trinitydentalboston.com/meet-us/dr-khara-gresham/