Black History 365: Latonia Moore

Latonia Moore remembers clearly the moment she fell in love with opera. She entered the University of North Texas as a jazz performance major, but a classical music requirement led her to sing in the chorus for Ruggero Leoncavallo’s Pagliacci (“Clowns”).

“I was just in the chorus, lowly little chorus girl, but I fell in love with being someone else,” Moore said in an interview with Leila Fadel of NPR’s Morning Edition. “Like me, Latonia from Houston, Texas, could be an Italian villager watching this comedia dell’arte troop come through town. I felt just so alive and at home.”

Moore says she didn’t grow up watching or performing opera — “my family’s not into opera, that’s not their thing” — but other types of music were a big part of her childhood. She sang gospel music — including in her pastor grandfather’s own church — R&B and jazz. Her older sister Yolanda introduced her to art songs, and she joined a choir.

Today, Moore has graced opera stages around the world, with the title role in Verdi’s Aida being her most performed and recognized one. But it’s also one that comes with its fair share of controversy, since non-Black singers often perform in blackface or have their bodies painted to portray the enslaved Ethiopian princess, long after such practices have been shunned in other performing arts.

Moore says she’s fine with the practice for the sake of art, so long as it doesn’t go “over the line for most people.” She herself has been painted darker in some cases for the role.

“When I started into opera, I didn’t really think about the fact that I was black. … It didn’t matter what my skin was, because this is an art form that’s based on suspension of disbelief,” Moore said. “Anyone should be able to go up in any brand of skin and be able to convince you that they’re an Ethiopian princess. So the makeup is not necessary … but if most people are offended, then drop it. You don’t need to do it.

“Convince them with your acting, with your voice. That’s our job.”

Moore pointed to other Black divas as sources of inspiration, including Leontyne Price, Shirley Verrett and Marian Anderson. “Being a Black opera singer, not a challenge — not really,” Moore said. “I have no obstacles.”

Singing her star-crossed character into existence

She spoke with NPR as she readied her performance as Leonora in Verdi’s Il Trovatore at the John F. Kennedy Center for the Performing Arts in Washington. The Washington National Opera season opener runs through November 7.

Moore says the multifaceted nature of her character Leonora is “reflected in the staging and the costuming and definitely in the way I sing it.”

Moore is quick to admit the notoriously difficult role was one she long avoided. “Vocally, whew baby, this is a big mama to sing!” she said. But as the soprano studied for the role, she uncovered more layers about the character, who with Manrico (played by Gwyn Hughes Jones) forms a pair of star-crossed lovers.

“This is a chick that’s kind of more like Juliet than people give her credit for. … She sees this guy, she falls for him immediately, and she’s like, ‘I don’t care about anything else in the world,’ ” Moore explained. “So she gets to be young and youthful, but at the same time, kind of like this strong warrior-like chick, which you’re going to see reflected in the staging and the costuming and definitely in the way I sing it.”

Erhard Rom’s spare sets of stairs, grids and drapes sharpen the psychological drama that unfolds on stage, with stark shadow projections by S. Katy Tucker bringing to life the traumatic past of Azucena the gypsy (played by an electrifying Raehann Bryce-Davis) and Manrico’s tragic end. The lavish costumes designed by Martin Pakledinaz are richly detailed, from the soldiers’ shining armor to bright, multilayered dresses.

On stage, Moore inhabits her character with joy, lifting her voice to the rafters, and with despair, convulsing it as she pleads for Manrico’s life to the controlling and obsessive Count di Luna (played by Christopher Maltman).

Opera is an art form based on the “suspension of disbelief,” Moore says.

“Our job as opera singers is to sing the character into existence, and the way to do that starts with the words and being able to speak them like a normal human being,” she said. “It’s way more important to have a pulse than to just be perfect and only do what’s on the page.” As part of her preparation, Moore painstakingly spoke her parts and those of the other characters in English in order to help her “get it all sung into my voice.”

Thriving where jazz and opera meet

She demonstrated similar vocal agility in a production of Fire Shut Up in My Bones by Terence Blanchard that opened the Metropolitan Opera’s last season — the first time the Met staged an opera by a Black composer. The two had met when Moore was still in high school. She described it as “a full circle moment.”

“I was a jazz singer and, of course, he’s a jazz trumpeter,” Moore recalled. “It was such a beautiful coming together of opera and jazz and gospel and church and all of the things that I’ve known.”

She noted that Black opera singers often are told to avoid getting “stuck” performing in Black operas or productions like George Gershwin’s Porgy and Bess — in which Moore has performed many times.

“See, I’m that one opera singer that was totally cool with being stuck, because I didn’t view it as stuck at all,” Moore says. “For me, opera in jazz, jazz opera is the best of both worlds. … There’s something about these operas where I feel like I was put here for them.”

Moore recalled Blanchard’s simple guidance to the cast simply to be “real” on stage — a real person with real feelings, and just let the music sing itself. As a result, she says, the singers bared themselves emotionally. “I remember at opening night I could barely even sing my lines. I was already crying so badly. It just it hit home so deeply,” Moore said.

The story, inspired by Charles M. Blow’s memoir, recounts the poverty-stricken childhood of a man who as an adult ultimately decides not to take revenge against a cousin who sexually abused him.

Moore is keen on making opera more accessible. Eschewing a highfalutin attitude over the rich, complex nature of an art form that involves so many different dimensions — from the human voice and orchestral music to visual arts and drama — she notes that opera in its most basic form involves people telling stories about other people.

“What’s more human that that?” she asks. “It should have never gotten to the point to where it was this hoity-toity, sort of snobby art form,” she added. “Your mind expands when you listen to this kind of music. Yes, it’s high art, but it’s for everybody. Opera for all.”

https://www.npr.org/2022/10/24/1129630509/from-gospel-to-opera-soprano-latonia-moore-makes-the-world-her-stage

Black History 365: Sabrina Brokenborough

Why are you dressed like that? A question posed to those who dress with creativity, vision, individuality – from those who just may not totally get it. For Pratt fashion student Sabrina Brokenborough, she’s adopted the phrase to create a visual diary of her looks, a mix of vintage petticoats and bonnets with heavy Japanese street fashion influence, self described as “very girly. I like big skirts with lots of ruffles and lace. I’m really into florals right now and dusty pinks too.”

On style evolution.

I’ve been playing with fashion since middle school, but high school was really when I was able to use the internet to buy clothes that weren’t accessible to me otherwise. I think I saw a Fruits snapshot on Tumblr of some girls wearing Lolita and Gunne sax dresses and it just clicked. I wanted to dress just like them.

I’ve noticed a switch in my fashion style recently. I used to wear a lot of primary colors and short skirts, but now I mostly lean into softer pinks and florals. I wear a lot of long skirts now. I don’t know,  I appreciate the way the fabric moves around my ankles when I walk.

Right now there’s a little bit of a divide between myself as a person and myself as a designer.

I think going into fashion design I like to explore a lot of unusual fabric combinations and textures while in my usual style is pretty predictable – peter pan collar, ruffle, florals, petticoat, big skirt, and plaids for the fall. Maybe in the future my designs will reflect more of my personal style, but for the moment I’m happy to play with fabrics and textures.

The fashion industry can be a little intimidating to break into, especially now since the world has been turned upside down. Best case is to get an assistant design position at a brand I love. I don’t think I’d go head first into creating my own brand.

I think it’s important to remember that life is really really short and you don’t want to waste time being uncomfortable while trying to fit in.

I feel like especially in the age of the internet it’s easy to find a group of people with similar interests experimenting with fashion. Before it was easy to think that no one dressed outside of the norm, but now  the world is really your oyster. Basically, look up alternative fashion tags on instagram and connect with people online with fashion styles you admire. Really focus on buying clothes you feel drawn to. Don’t buy anything that you don’t 100% love.

Inspiration lives everywhere.

I have a collection of old fashion books that I like to flip through. I really liked how frivolous and over the top clothes used to be.I think we lost a bit of that to the practicality of modern life. I like to watch 1950s movies for the costumes especially if they were designed by Edith Head, but sometimes the racism and sexism from those movies make me cringe.

From the shows. 

Gucci Fall/Winter 2020. So many dresses with lace and ruffles and beautiful collars. I like how they paired the ornate skirts with soft sweaters and I appreciate how the dressing room was clear so you could get an idea of the amount of work that goes into making a fashion show. I think it’s important to highlight the work goes into making clothes and these presentations, it makes you appreciate the art.

The fashion decade.

The 1830s! Love the big sleeves and bonnets.

On icons.

From real life it’s Misako Aoki, from fiction literally any “girly girl” character in a movie or TV show.

Elements of an outfit.

A cohesive theme and matching colors and textures. There needs to be a good color balance throughout, really honing in on the core colors and working around that.

To jolt creativity in the city, a visit to the garment district will do.

Just walking around and looking at the different fabrics gets the gears going. I always just walk around and think “Oh wouldn’t it be cool if that fabric was used for this or could be made into that?”.

Always berets.

I have a stack of berets on the top shelf of my closet and I just pick whichever color goes best with the outfit. I love berets. I’m getting pretty close to owning one in every color.

Places to find vintage.

I like to lurk around on eBay and instagram for nice dresses. The best deals are from clueless sellers trying to get rid of their grandma’s old clothes, that’s where you can find gold. In New York I usually scout around the usual places like L Train, Buffalo Exchange, and Goodwill. However, my favorite thrift store is the Philly Aid’s thrift store in Philadelphia. I’ve found the best stuff there and it’s always worth the trip – t’s a really nice place that benefits AIDS/HIV treatment and research programs.

The perfect day.

–Breakfast and tea at Ladurée, they have yummy french toast!

–Walk around the MET (especially if the fashion exhibit is up)

–Drink a bubble tea and walk around the Upper East Side window shopping

–Afternoon tea at Lady Mendl’s

–Buy a bouquet of flowers to bring home 🙂

https://www.catbirdnyc.com/blog/photo-journal-sabrina.html

Black History 365: Kim Lewis

How Louisiana’s only Black-owned winery was created by Kim Lewis

Kim Lewis isn’t one to shy away from a challenge. In fact, the 37-year-old single mother of three teenagers leans into the unknown, always one to ask “why not?” instead of “why?” when facing a challenge.

That’s exactly how she ended up starting Ole’ Orleans Wines in 2018. Lewis, a New Orleans native, describes herself as a serial entrepreneur. Her background in psychology landed her in healthcare, managing behavioral health clinics and working in high school special education. She’s also had a trucking company that specialized in demolition.

“I’m always up for a challenge, for learning something new,” said Lewis, who lives in Algiers on the west bank of the Mississippi, minutes from downtown New Orleans.

Wine wasn’t on her radar until she spent some time traveling to the islands and around the U.S. in 2016. “That’s when my eyes opened to the power of wine,” she explained. “I started tasting and trying everything. It became a hobby for me, a passion.”

Feeling restless in her work life, Lewis remembers one day joking with a friend, putting out the idea to start her own wine company. “I was already running my own business, so why not?” Lewis recalled.

As a Black woman, this put her in an infinitesimal market share. According to Wine and Spirits Magazine, winemaking is one area where African Americans are significantly underrepresented compared to their white counterparts. In fact, less than one percent of U.S. wineries are Black-owned or have Black winemakers – a statistic that parallels the number of Black U.S. farmers.

“I really didn’t think too much about that,” she said. “I don’t ignore my skin color but it’s not a huge selling point. The product has to sell itself,” she says.

Lewis has a dedicated team of employees, including Steve Wade from day one, her Director of Operations, and Joe Donnow, a winemaker with 30 years of experience who joined the company in 2020. She started slowly, buying other makers’ wine to fill her private label that she planned to sell only online.

That quickly grew into actually making her own wine in five 3,200-gallon stainless steel tanks in the warehouse space she leased on Oretha Castle Haley, a boulevard in Central City named for the notable civil rights pioneer. A tasting room has been shuttered since the pandemic, but she has plans to open again in the spring as business continues to boom.

“In 2019, when our first wine was ready to bottle, we sold about 200 cases,” she said. In 2019, that grew to 500 cases. In 2020, with the pandemic raging and drinking at home one of America’s favorite pastimes, she sold 4,000 cases. As of October 2021, that number is 7,500.

“Being a native of New Orleans, it is important to me that I highlight my heritage, my family and where I grew up,” she said. “A lot of locals love remembering old New Orleans, places like Pontchartrain Beach and the things that are special about our city, like St. Charles Avenue and Carnival.”

Her portfolio of 750 ml. bottles, priced between $18.99 and $28.99, have distinctive labels with local ties, including Saint Charles Ave. Chardonnay, Vieux Carre Rose and Tchoupitoulas Blanc de Bois. BKK is a rich cabernet sauvignon with the initials of her three children: Brandon Jr., Kailynn and Khari.

“I wanted people to remember good times while they were creating new memories drinking my wine,” she explained.

Working with national distributors, Lewis’s Ole’ Orleans Wines are carried in locations including Whole Foods, Walmart, Sam’s Club, Target and Total Wine. Her wine is already being sold – or about to be – in most Southern states, along with New York, Colorado and Florida. Always forward-thinking, Lewis and Donnow are working with Living Wine to create the kind of AR (augmented reality) wine labels that appear on the 19 Crimes brand.

By the end of this year, she’ll be in the distilling business too, expanding her brand with Blueprint vodka.

“We’re still growing and have a long way to go,” she said. “But I’m so happy to have the opportunity to be the only winery in New Orleans.”

https://www.10best.com/interests/drinks/louisiana-only-black-owned-winery-created-by-woman-kim-lewis/

Black History 365:Mary Eliza Mahoney

Eager to encourage greater equality for African Americans and women, Mary Eliza Mahoney pursued a nursing career which supported these aims. She is noted for becoming the first African American licensed nurse.

Mary Eliza Mahoney was born in the spring of 1845 in Boston, Massachusetts. The exact date of her birth is unknown. Born to freed slaves who had moved to Boston from North Carolina, Mahoney learned from an early age the importance of racial equality. She was educated at Phillips School in Boston, which after 1855, became one of the first integrated schools in the country.

When she was in her teens, Mahoney knew that she wanted to become a nurse, so she began working at the New England Hospital for Women and Children. The hospital was dedicated to providing healthcare only to women and their children. It was also exceptional because it had an all-women staff of physicians. Here Mahoney worked for 15 years in a variety of roles. She acted as janitor, cook, and washer women. She also had the opportunity to work as a nurse’s aide, enabling her to learn a great deal about the nursing profession.

The New England Hospital for Women and Children operated one of the first nursing schools in the United States. In 1878, at the age of 33, Mahoney was admitted to the hospital’s professional graduate school for nursing. The program, which ran for 16 months, was intensive. Students attended lectures and gained first-hand experience in the hospital. Many students were not able to complete the program because of its many requirements. Of the 42 students that entered the program in 1878, only four completed it in 1879. Mahoney was one of the women who finished the program, making her the first African American in the US to earn a professional nursing license.

After she finished her training, Mahoney decided not to follow a career in public nursing due to the overwhelming discrimination often encountered there. Instead, she pursued a career as a private nurse to focus on the care needs of individual clients. Her patients were mostly from wealthy white families, who lived up and down the east coast. She was known for her efficiency, patience, and caring bedside manner.

Mahoney was an active participant in the nursing profession. In 1896, she joined the Nurses Associated Alumnae of the United States and Canada (NAAUSC), which later became known as the American Nurses Association (ANA). The NAAUSC consisted mainly of white members, which were not always welcoming to black nurses. Mahoney felt that a group was needed which advocated for the equality of African American nurses. In 1908, she co-founded the National Association of Colored Graduate Nurses (NACGN). In the following year, at the NACGN’s first national convention, she gave the opening speech. At the convention, the organization’s members elected Mahoney to be the national chaplain and gave her a life membership.  

After decades as a private nurse, Mahoney became the director of the Howard Orphanage Asylum for black children in Kings Park, Long Island in New York City. She served as the director from 1911 until 1912.

She finally retired from nursing after 40 years in the profession. However, she continued to champion women’s rights. After the 19th Amendment was ratified in August 1920, Mahoney was among the first women who registered to vote in Boston.

Mahoney lived until she was 80. After three years of battling breast cancer, she died on January 4, 1926. She is buried in Woodlawn Cemetery in Everett, Massachusetts.

Mahoney’s pioneering spirit has been recognized with numerous awards and memorials. In 1936, the National Association for Colored Graduate Nurses founded the Mary Mahoney Award in honor of her achievements. This award is given to nurses or groups of nurses who promote integration within their field. The award continues to be awarded today by the American Nurses Association. The AHA further honored Mahoney in 1976 by inducting her into their Hall of Fame. Mahoney joined another esteemed group of women in 1993, when she was inducted into the National Women’s Hall of Fame in Seneca Falls, New York.

Mahoney’s grave in Everett, Massachusetts has also become a memorial site. In 1973, Helen S. Miller, winner of the Mahoney Award in 1968, led a fundraising drive to erect a monument to Mahoney at the gravesite. Her efforts were supported by the national sorority for professional and student nurses, Chi Eta Phi, and the ANA. The memorial was completed in 1973, and stands as a testament to Mahoney’s legacy.

https://www.womenshistory.org/education-resources/biographies/mary-mahoney

Black History 365: Kari Njiiri

Kari Njiiri is a senior reporter and longtime host and producer of Jazz Safari, a musical journey through the jazz world and beyond, broadcast Saturday nights on NEPM Radio. Born in New York City, and raised in both Kenya and the U.S., Kari first arrived at NEPM as a UMass Amherst student fascinated by radio’s ability to cross geographic and cultural boundaries. Since then, he has worked in several capacities at the station, from board operator and book-keeper, to production assistant and local host of NPR’s All Things Considered.

https://www.nepm.org/people/kari-njiiri

Kari is also a host of many arts events in the region, including introducing musical acts at the Green River Festival in Greenfield, MA.

Black History 365: Sheyann Webb-Christburg

Sheyann Webb-Christburg was born on February 17, 1956, in Selma, Alabama.  A voice for justice, equality, and self-achievement, Webb-Christburg is a humanitarian, civil rights activist, mentor, and youth advocate.  Dr. Martin Luther King, Jr. named her the “Smallest Freedom Fighter”.  She is the co-author of Selma, Lord, Selma: Girlhood Memories of the Civil Rights Days.  In 2000, the NAACP Image Awards nominated Selma, Lord, Selma, the 1999 Disney TV Movie based on her book, for Best Television Mini Series.  The movie depicts her childhood experiences as one of the youngest activists during the civil rights movement in 1960s Selma and her interactions with civil rights leaders.

At age eight, Webb-Christburg would sneak out of her house to attend meetings and often led the congregation in singing freedom songs.  She was the youngest participant to take part in the historic first-attempted march from Selma to Montgomery known as “Bloody Sunday”.

Webb-Christburg attended a segregated public school in Dallas County, Alabama until junior high when she became one of the first African Americans to integrate an all-white school. Her junior high years were among her most horrific. She was pushed down stairs, called bad names, suspended from school, and spat on, while school administrators took no action.

Because of Webb-Christburg’s numerous encounters with racism and poverty, she has dedicated her life to assisting American youth in building self-esteem and confidence, overcoming adversity, and finding real purpose in their lives.  Her commitment to these goals began in 1980 when she founded KEEP Productions Youth Development Mentoring and Modeling Program. This program is designed for youth ages two through eighteen to enhance their personal growth and develop leadership skills and individual talents.  She has helped many youth gain the confidence to break out of non-productive patterns and reach for success.  She also works with adult models ages 19 and up.

Webb-Christburg speaks to various groups, organizations, and particularly youth across the country.  She serves as a beauty pageant, fashion, and wedding consultant. She has worked as Minuet and Waltz Choreographer for Debutante Cotillions in Alabama and Georgia for over twenty-eight years.

Webb-Christburg has appeared on The Oprah Winfrey Show, Good Morning America, The Tom Joyner Morning Show, and other major media Radio and T. V. Talk Shows.  She is also featured in the PBS documentary, “Eyes on the Prize”.  She has received numerous civic and community service awards in the State of Alabama and abroad.  Webb-Christburg is a 1979 graduate of Tuskegee University.

Black History 365: Miami’s Little Haiti

Miami’s Little Haiti joins global effort to end cervical cancer

More than 300,000 women around the world die from cervical cancer each year. In the U.S., women of Haitian descent are diagnosed with it at higher rates than the general population.

The disease is preventable, though, thanks to vaccines and effective treatments for conditions that can precede the cancer. That’s why health care workers and even the World Health Organization are focusing on Miami’s Little Haiti to try to save lives.

The rate of cervical cancer in Little Haiti is 38 per 100,000 people — more than four times Florida’s overall rate of 8 per 100,000, according to a study published in Cancer Causes and Control in July 2018.

One of the authors, Erin Kobetz, the associate director for population sciences and cancer disparity at the University of Miami’s Sylvester Comprehensive Cancer Center, came up with the idea of bringing HPV testing to areas of Miami-Dade County where women are less likely to get regular screenings for cervical cancer at a gynecologist’s office. Human papillomavirus is thought to be responsible for about 50% of cervical cancers.

Kobetz’s work and that of her colleagues, using a recreational vehicle dubbed the Game Changer, grabbed the attention of the WHO. The international health organization announced a lofty goal in August 2020: Eliminate cervical cancer by encouraging countries to get 90% of girls fully vaccinated with the HPV vaccine by age 15; have 70% of women screened for HPV by age 35 and again by age 45; and treat 90% of women who have pre-cancerous conditions. The WHO believes cervical cancer can be eliminated within the next century if countries meet those targets by 2030.

‘Center for Haitian Studies’ brings health care to the people

In Miami, the WHO is relying in large part on public health infrastructure already in place, including the effort initiated by Kobetz. In Little Haiti, this work is happening at a medical clinic called the Center for Haitian Studies, located on a commercial street in the rapidly gentrifying immigrant neighborhood.

On the outside of the building, “CHS-Health” is written in big blue letters. A few small convenience stores and a tax service business are nearby, but most surrounding shops are clothing boutiques and hip cafes or restaurants.

On a weekday morning, the clinic’s street-facing windows filled the waiting area with sunlight, and community health worker Valentine Cesar struck up friendly conversations in Haitian Creole with patients as they waited.

The patients have an easy rapport with Cesar, who works for the University of Miami’s Sylvester center. At the Center for Haitian Studies, she teaches people about preventing cervical cancer by focusing on HPV. Specifically, Cesar shows women how to test themselves using a kit she hands out at the clinic. “We have a little jar, and this is a cotton swab,” she said.

‘The fact that you’re HPV-positive doesn’t mean you have cancer’

The process isn’t much different from using a tampon and is certainly easier than getting a pelvic exam, which is the other way to test for HPV. Self-collected samples are sent to a lab. If the results are positive, Cesar deploys her considerable people skills as she delivers the news.

She acknowledged the panic that comes when she tells people they have HPV. “We explain to them that the fact that you’re HPV-positive, that doesn’t mean that you have cancer,” she said.

It does mean that a woman needs to be vigilant about her health, though, and needs to be monitored for cancer, pre-cancerous conditions, and other problems that can be caused by HPV. Cesar and her colleagues will encourage HPV-positive patients to get care at the Center for Haitian Studies or other federally qualified health centers. The clinic is the Sylvester center’s primary referral partner in Little Haiti because of the cultural and linguistic competence of the staff.

The Sylvester center’s Game Changer vehicle supports the Little Haiti clinic’s education efforts and parks behind it on scheduled days. On other days, the vehicle brings a similar message to different communities in Miami.

“We’re able to promote our services through our various community health workers that go out and talk about what we do, hand out flyers and have educational materials,” said Dinah Trevil, the former director of the Sylvester center’s Office of Outreach and Engagement. “All of that helps us to bring about knowledge and awareness about our services and what we do.”

On a tour of the Game Changer vehicle, Trevil pointed out the video on HPV that was playing and pamphlets that people can use to learn about the virus. The vehicle has a main area with space for sitting, as well as areas for private exams or consultations.

Culturally competent staffers help dispel fear

Trevil understands why Haitian women sometimes avoid seeing a doctor. As she explains it, “They have the belief, ‘If I’m going to the physician’s, I’m going to find out some bad news. I would rather not go.’ “

As health educators, Trevil and Cesar try to talk people out of this avoidance motivated by fear.

Research shows the self-tests for HPV can help more women accept other tests that benefit their reproductive health, Trevil said. “So we started to use this test as a way to address some of the sensitivities and some of the reluctance in women to actually have a Pap test done.”

Patient Nicole Daceus took a self-test for HPV this year after noticing the Game Changer vehicle and the Sylvester center’s name on it. Health fears are not the only hurdle, Daceus said, noting that “people avoid the doctor if they don’t have health insurance or their immigration papers.”

No one at the clinic will ask patients about their immigration status, though — that’s something Cesar and Trevil try to make sure patients know.

How to reach the next generation

Staffers from the Sylvester center explain the issues to mothers, as they encourage them to get their young teenagers vaccinated against HPV. The vaccines for children are given inside another RV, parked a few feet from the Game Changer — the University of Miami’s pediatric mobile clinic. It focuses on care for uninsured children and sets up near public schools, houses of worship and community centers.

“We work in tandem with one another because the mobile clinic is able to provide vaccines, and this way we can make HPV prevention a family affair,” Kobetz said. “Age-eligible boys and girls can get vaccinated.”

Richard Freeman, who works in the WHO’s office of the director-general, visited the vehicles behind the Center for Haitian Studies earlier this year. Freeman said this team’s work is vital to the WHO’s global effort to end cervical cancer. No one, Freeman added, should die from a disease that tests and vaccines can prevent.

“Cervical cancer is the one cancer that we can actually eliminate,” Freeman said. “We have the tools, and all it is a choice of whether or not we’re going to put those tools into use. If we catch this cancer early and we detect it on time, it’s curable. And so we want to see all of these interventions coming — not just here in Miami. We want to see the supply of HPV vaccines also made available and also affordable in countries that have a higher burden of cervical cancer.”

https://www.npr.org/sections/health-shots/2022/10/11/1127261639/hpv-cervical-cancer-miami-little-haiti

Black History 365: Jonathan Batista

Batista becomes first Black principal dancer in Pacific Northwest Ballet history

While celebrating 50 years as a ballet company, the Pacific Northwest Ballet is making history.

“This is a moment for us,” said dancer Jonathan Batista while describing how he felt about becoming the first Black principal dancer in the history of the Pacific Northwest Ballet.

The newly promoted Batista joined the organization as a soloist last year and says moving to the highest rank as a ballet dancer last month means the world to him and the Black dance community.

“Being the first Black dancer in 50 years of Pacific Northwest Ballet, this is a moment for young Black boys, young Black girls, that want to dance, that want to see themselves on that stage,” Batista said.

Originally from Rio De Janeiro, Brazil, Batista has performed with companies from the UK to Canada, sometimes as the only Black member of the company.

Batista says he’s grateful to make history through his promotion to principal dancer in Seattle.

“It is such an honor to be in this position,” he said. “It also is a moment where I think, ‘Wow, it took 50 years for Black man, for Black person, to become a principal dancer.'”

The Pacific Northwest Ballet has a total of 46 dancers in its company. Batista is one of nine who identify as Black.

https://www.kuow.org/stories/batista-becomes-first-black-princip

Black History 365: Charles Fuller

Charles H. Fuller Jr. (March 5, 1939 – October 3, 2022) was an American playwright, best known for his play A Soldier’s Play, for which he received the 1982 Pulitzer Prize for Drama and the 2020 Tony Award for Best Revival of a Play.

Early life

Fuller was born in Philadelphia, Pennsylvania, on March 5, 1939, the son of Charles H. Fuller, Sr. and Lillian Anderson. Raised Roman Catholic, he attended Roman Catholic High School and then Villanova University (1956–1958), then joined the U.S. Army in 1959, serving in Japan and South Korea.[1][2] He left the military in 1962, and later studied at La Salle University (1965–1967), earning a DFA. Furthermore, he co-founded the Afro-American Arts Theatre in Philadelphia.

Career

Fuller vowed to become a writer after noticing that his high school’s library had no books by African-American authors. He achieved critical notice in 1969 with The Village: A Party, a drama about racial tensions between a group of mixed-race couples.[3] He later wrote plays for the Henry Street Settlement theatre and the Negro Ensemble Company in New York City, which have performed several of his plays. His 1975 play, The Brownsville Raid, is based on the Brownsville Affair, an altercation between black soldiers and white civilians in Brownsville, Texas, in 1906, which led to an entire black regiment being dishonorably discharged, though later pardoned in 1976.

Fuller won an Obie Award for Zooman and The Sign in 1980, about a black Philadelphia teen who kills a young girl on her own front porch, and whose neighbors eventually rise up against him after being goaded out of their apathy by the girl’s father with a sign. Zooman presents himself as a helpless product of his society, but his victim’s father convinces their neighbors that they need to stand together and achieve justice.

Fuller’s next work, A Soldier’s Play, told the story of the racially charged search by a black captain for the murderer of a black sergeant on a Louisiana army base in 1944, as a means to discuss the position of blacks in white society. Although the play enjoyed a long run, Fuller said it never played on Broadway because he refused to drop the last line, “You’ll have to get used to black people being in charge.” It was nevertheless a critical success, winning Fuller a Pulitzer Prize in 1982, and being produced as the 1984 film A Soldier’s Story, for which Fuller himself wrote the screen adaptation. His screenplay was nominated for an Academy Award, a Golden Globe Award, and a Writers Guild Award of America, and it won an Edgar Award.

After this play, Fuller switched his focus to movies for several years, saying “I always wanted to reach the most people with my work. Not enough people go to the theater.”[3] Roundabout Theater Company presented the play’s Broadway debut in January 2020, starring David Alan Grier and Blair Underwood, and directed by Kenny Leon.[4] It ran for 58 performances, closing on March 11, 2020, when Broadway theaters were closed due to the COVID-19 pandemic. The production was deemed eligible for a Tony Award for Best Revival of a Play at the 74th Tony Awards despite it had never performed on Broadway before. The Tony nominating committee had deemed A Soldier’s Play a classic, but in their ruling, the committee also decided that due to this being the play’s first Broadway production, Fuller would also be included in the production’s nomination as if the play were nominated for a Tony Award for Best Play.[5] As such, Fuller won a Tony Award for A Soldier’s Play nearly 40 years after its first production.[6] He subsequently penned other works for the stage, but they have not been critically acclaimed.

Of his methods for advancing the African-American cause, Fuller said in a 1982 interview, “My argument is on the stage. I don’t have to be angry. O.K.? I get it all out right up there. There’s no reason to carry this down from the stage and into the seats. And it does not mean that I am not enraged at injustice or prejudice or bigotry. It simply means that I cannot be enraged all the time. To spend one’s life being angry, and in the process doing nothing to change it, is to me ridiculous. I could be mad all day long, but if I’m not doing a damn thing, what difference does it make?”[7]

Fuller received grants from the Rockefeller Foundation, Guggenheim Foundation, the State of New York, and the National Endowment for the Arts. He also wrote short fiction and screenplays and worked as a movie producer. In 2010, he published his first novel, Snatch: The Adventures of David and Me, a work of children’s fiction written for his two sons. He was a member of the Writers Guild of America, East.

On October 3, 2022, Fuller died of natural causes in Toronto at the age of 83. He leaves behind his wife, Claire Prieto, his son, David Ira Fuller, his step-son, Ian Kamau, his daughter-in-law, four grandchildren and three great grandchildren.[8]

Bibliography

Plays

  • The Village: A Party (also known as The Perfect Party), 1968[9]
  • An Untitled Play, 1970[9]
  • In My Many Names and Days, 1972[9]
  • The Candidate, 1974.[9]
  • In the Deepest Part of Sleep, 1974[9]
  • First Love (one-act), 1974.[9]
  • The Lay out Letter (one-act), 1975[9]
  • The Brownsville Raid, 1976[9]
  • Zooman and the Sign, 1982.[9]
  • A Soldier’s Play, 1982[9]
  • We, 1988[9]
  • Eliot’s Coming, 1988[9]

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

Black History 365: Jacquelyn Revere, #dementia TikTok

On #dementia TikTok, family caregivers find support and bring the disease to light

It all changed on a Saturday night in New York City in 2016. Jacquleyn Revere was 29 years old, and headed out for the evening to attend a friend’s comedy show.

She was still on the subway when her phone rang. It was a friend of her mom’s, back in Los Angeles. That’s weird, Revere thought. She never calls.

“And while I was on the subway, my mom’s friend said, ‘Something is wrong with your mom,'” Revere said. ” ‘We don’t know what’s going on, but your mom got lost driving home. What should have been a 15 minute drive, ended up taking two hours.’ “

Revere flew back to L.A. At her mom’s home in Inglewood, she found foreclosure notices, untreated termite damage on the porch, and expired food in the kitchen.

Her mother, Lynn Hindmon, was a devout Evangelical who worked for her local church. A slim, regal, self-declared “health nut,” Hindmon was now forgetting to pay bills and couldn’t remember who she was talking to on the phone. This was just a few years after Hindmon herself had moved in with her own mother, Joyce Hindmon, Revere’s grandmother, after the matriarch had been diagnosed with Alzheimer’s.

“My mom was taking care of her mom, who had Alzheimer’s, [and] not telling anybody how hard it was or that she needed help, or that it was completely stressing her out,” Revere says.

“And then it became about me coming home to be in a house with three generations of trauma, and working my way through that … while also being afraid and young and scared and not knowing what to do.”

It would take nearly a year before they got the diagnosis that confirmed what Revere already suspected: Her mother had Alzheimer’s, too. Barely 10 years since Revere left home, she found herself moving back in with her mom and her grandmother — this time as their full-time caregiver.

“That first year and a half, I was just filled with fear: What if I lose the house?” Revere says. Because of the stress, she says, “I went through bouts of migraines. My hair, right in the middle, fell out completely.”

“I had to figure out how to get control of all the banking, figure out the passwords, make sure the bills are paid, make sure everything’s taken care of.”

In 2017, her grandmother died. Revere’s grief and isolation felt overpowering. Her friends in their 20s either couldn’t relate, or thought she was “wallowing in pity,” Revere says.

Trying to get them to understand what her daily life was like now seemed impossible. “I just wanted to find people I didn’t have to explain everything to,” she says.

Revere even tried a support group for caregivers, an hour’s drive away. But the other attendees were decades older, and had more financial resources. “[They] would say ‘And now I have to take equity out of our house,’ or ‘I’m thinking of reaching into our 401k.’ And then I would tell my story, and people would be looking at me like … a charity case, or like my problem is unsolvable. … If anything, I left and I just felt worse.”

But these days Revere no longer feels so alone. In fact, she’s a celebrity of sorts on TikTok, at least among the hundreds of thousands of people who post about dementia and the difficulties of caring for a loved one with the disease.@momofmymom What were your first signs? #momofmymom#dementia#alzheimer#cognitivedecline♬ Pieces (Solo Piano Version) – Danilo Stankovic

Over the past few years, Revere’s account, @MomofMyMom, has become wildly popular, with more than 650,000 followers. Many of her most ardent fans have told her that they feel like they personally know her and her mom. Revere has both found a supportive community, and helped build one.

Caregivers for people with dementia have flocked to social media, but TikTok has been an especially helpful platform. Content with the hashtag “dementia” has already racked up more than 4 billion views on TikTok, as younger generations, already accustomed to sharing their lives online, now find themselves caring for aging loved ones — often with little preparation and no idea how to actually do that.

The “unmet need”

Alzheimer’s disease is the most common form of dementia, but other forms include vascular dementia, mixed dementia, dementia with Lewy bodies, and frontotemporal dementia, according to the CDC. Nearly all forms of dementia get worse over time, and there is no cure, although there are some treatments.

The task of caring for people with dementia usually falls on family members. Every year, an estimated 16 million Americans provide more than 17 billion hours of unpaid care for family or friends suffering from Alzheimer’s disease or other dementias, according to the CDC. About two-thirds of these caregivers are women.

“Here in the United States, unfortunately, there is not a very strong system of paid support for people with dementia,” says Elena Portacolone, an associate professor who studies aging and cognitive impairment at UCSF’s Institute for Health & Aging. “And so the most common way of supporting persons with dementia is the daughter.”

Like Revere, many of the women who become caregivers end up having to quit their jobs. They often now find themselves financially vulnerable and “extremely isolated,” says Portacolone. “So like Jacquelyn [Revere], the unpaid caregiver of her mother for six years, they are left to their own devices.”

Another expert, Teepa Snow, agrees that too many caregivers are struggling. Snow is an occupational therapist in North Carolina, and runs a company offering training for caregivers of people with Alzheimer’s and related dementias. “We know that there are so many younger…people out there dealing with one form of brain change or another in their life, and they’re left hanging,” she says.

If Revere is the older sister everyone on dementia TikTok wishes they had, then Snow is their patron saint. Her own how-to videos about practical, compassionate caregiving rack up millions of views. “TikTok is where people are expressing an unmet need,” she says.

Because there’s no cure for Alzheimer’s or dementia, the medical community often treats dementia the way previous generations of practitioners treated cancer — like “a big black box,” Snow says. Decades ago, when people got cancer, “we didn’t say anything, we didn’t talk about it. We said, ‘Oh gosh, that’s horrible.’ And people were like, ‘…How long have they got?’ “

And while cancer is still a devastating diagnosis to receive, the medical community is more likely to respond by creating “a therapeutic alliance with the patient and the family,” says Portacolone, the UCSF professor.

But families of Alzheimer’s patients often report feeling like the medical system simply hands them an Alzheimer’s diagnosis, tells them there’s no cure, and essentially shows them the door. “[They’ll say] ‘You know, there’s really not a lot we can do,'” Snow explains. ” ‘You could read this book about the origin [of dementia.]’ It’s like, the last thing I need is another book to read.”

What family members need from the medical system, Snow says, is more understanding of symptoms and how to handle them, more help setting up long-term support systems, and knowledge about how patients can be helped by changes to their diet, sleep, exercise and lifestyle.

All too often, however, caregivers are left to muddle through and figure out the complex tasks of keeping a patient safe. ‘That’s pretty lonely,” Snow says. “And that’s so common. And at this point in time, if we had five families dealing with dementia, four out of five would fall apart before the disease was ended. And so that person who’s just chosen to be the primary [caregiver], they’re all alone. They’re truly all alone.”

Caregivers for people with dementia have been reaching out to one another for years, holding local in-person support groups or joining mega-groups on Facebook. There’s also no shortage of websites or books about the disease and the burdens of caregiving.

But the COVID pandemic disrupted or closed down many of those supports, such as in-person groups, or the adult daycare center that Revere’s mom had been attending five days a week. During lockdown, Revere noticed her mom’s condition started deteriorating. Desperate to keep her stimulated, and to find some kind of social connection for herself, Revere did what so many others did during COVID: She got on TikTok.

A single TikTok post of Snow’s can rack up millions of views. That’s because dementia TikTok, she says, is where “people are expressing an unmet need.”

Using TikTok feels like being submerged in an infinite torrent of videos — most about a minute long. But the short video format has attracted caregivers, who find they can document and share the vivid, daily moments of their homebound worlds in ways that would be less visceral on more text- or photo-centric platforms.

‘How many of us are on here?’

Just as you can watch videos showing World Cup highlights, you can also watch a woman’s “day in the life” video of caring for her husband with early-onset Alzheimer’s.

Or, perhaps, watching one of Revere’s @MomofMyMom posts from 2020, which walks viewers through their bath routine.

“It’s bath day,” Revere says at the start of the post, while still lying in bed. “I try my best not to make this an emotionally draining experience,” she sighs. “So let’s begin.”

Giving someone with dementia a bath can be difficult, or even dangerous. They can get disoriented, or feel threatened when someone takes off their clothes or maneuvers them into a wet tub. They may slip and fall, or try to physically fight their caregiver.@momofmymom If i had one word of advice, it would be, try to have fun. #Caregiver#blackcaregiver#poccaregiver#caregiversupport#selfcare#momofmymom#caregivercoach#caregivingcoach#caregiverlife#caregivers#caregivertips#caregiverburnout#caregiverspace#dementiacare#dementia♬ original sound – 💜MomOfMyMom💜

But Revere has created a soothing and predictable routine for her mother Lynn. At the time of this video, Lynn Hindmon is 63, and it’s about five years after her Alzheimer’s diagnosis. She’s not speaking much.

But in this video, Lynn Hindmon is still gorgeous: tall and regal, with great cheekbones. She still loves to pick out her own clothes, and on this day she’s wearing neon blue leggings and a purple beanie hat. She’s put on gold hoops and pink lipstick.

Revere starts off by promising her mom a present — which she’ll get after the bath.

“We’re going to get you some new lipstick. All right, let’s start.” Revere walks her audience through the process — sharing what works for them. She turns on some soul music, plugs in the space heater, puts the dog outside and lays out all her mom’s clothes. “Lure her into my cave,” she says, as her mom enters the bathroom.

The video then cuts to after the bath is over: Hindmon is dressed again, and mother and daughter are celebrating with a dance party in the bathroom.

“We dance and we dance and we dance,” Revere narrates. “And when we’re done, she gets a gift.” At last, Revere brings out the promised gift: a sleek black tube of lipstick.

“I have a present,” Revere tells her mom. Hindmon beams, but struggles to open the cap. “Here you go, it’s open,” Revere reassures her. “I opened it for you.”

Revere could not believe this video, of their regular bath routine, got more than 20,000 views. Hundreds of people left comments, saying how they can relate. One comment read: “My mother-in-law passed a year ago this week. This was the most frustrating part of caring for her. Devoted a whole day to getting this done). Another commenter told Revere “God Bless you! I know it’s hard. I see you and send so much love your way.”@momofmymom

I miss us, but so happy to have the memories💜♬ original sound – 💜MomOfMyMom💜

It was then that Revere realized she was no longer so alone. All the burdens of caregiving — the house maintenance, the medical bills and insurance paperwork — were still very real. But she knew others were out there, struggling with the same chores and challenges. It was because of her TikTok channel, and the community it was helping her tap into. Revere posted a follow up right away:

“How many of us are on here?” she said into the camera. “I’ve been, like, looking for people my age that I can relate to, who have the same experience.”

TikTokers responded from as far away as South Africa. Revere’s following soared from just a couple thousand followers to more than 650,000. Many people used the comments to talk about their own caregiving struggles. They wanted to see the little victories, like her gentle and even joyful tricks for getting through bath time. But they also listened to Revere’s candid confessions and watched her struggle through moments of total exhaustion.

“Ya’ll, I have never been so emotionally drained in my life,” she shared in one video from February of last year. “Caregiving eats your soul. It kills your spirit. It’s constant mourning for years. … And it’s beautiful. And it’s said. Some days you just have to take it breath by breath.”

The ethical issue: Should we be showing dementia patients like this?

But the intimate, unvarnished depictions of dementia on TikTok dementia also raise unavoidable ethical issues involving privacy, dignity and consent. Because now the internet is littered with videos of adults who, for the most part, haven’t given conscious consent to their most vulnerable moments being shared with millions of strangers.

In one TikTok, a granddaughter chronicles her grandmother’s aggression, filming as the elderly woman chases her through the house, fists swinging wildly. Other accounts film the verbal abuse that caregivers can experience, or show Alzheimer’s patients in their most vulnerable moments: a distraught woman standing in her living room in a thin nightgown, pleading for her long-dead parents to come pick her up.

Beth Kallmyer, the vice president for Care and Support for the Alzheimer’s Association, doesn’t think the people posting these videos intend to be exploitative. “You could tell that the caregivers just felt isolated and frustrated and at their wit’s end, with no resources,” she says.

“If I were talking to a family member … considering doing this,” Kallmyer says, “those are the questions I would pose to them: Would they [the person with dementia] be comfortable with this? Is there a way for you to film something that gets the idea across but maintains their dignity and maintains their self-respect?”

Public posts can potentially violate dignity in various ways, she explains. “Should we have a video of somebody that isn’t fully clothed? Or maybe [before Alzheimer’s] they only went outside when they were dressed to the nines or really put together, and you’ve got them in pajamas or sweatpants or whatever, and they don’t have makeup on. That’s about real … respect for the person. And I’m not sure that’s the best way to go about using TikTok.”

Some accounts have tried to directly address the issue of consent. The @TheKathyProject, for example, was created by sisters Kathy and Jean Collins to document the impacts and evolution of Kathy’s early-onset dementia diagnosis. In the early posts from 2020, Kathy’s symptoms are still fairly mild, and she’s clearly an eager participant in making and sharing the videos with the TikTok community.

Revere has a video that she now feels ambivalent about posting, in retrospect. Perhaps ironically, it’s the most-watched video on her channel, with 27 million views. In it, her mother is walking around the living room, holding an open bottle of mouthwash. She had somehow gotten past the locks on the bathroom cabinets.

Lynn Hindmon thinks the mouthwash is just a normal drink, like juice or milk. She looks frustrated and dazed as Revere tries to explain to her mom why she can’t drink mouthwash.

But Hindmon doesn’t want to let the mouthwash go. As caregivers know, Revere now has to keep this from escalating into a big conflict. “May I have it please? Please?” she asks her mom, who eventually relents and hands it over.

“Thank you so much, and I’m going to exchange it for something that tastes even better, all right?” Revere gets her mom a popsicle.

But some of the comments on that post were cruel, calling her mom an alcoholic, or saying she looked scary. The experience made Revere feel protective — like she needed to be more careful, as she didn’t want to post anything that might put her mom in a bad light. Still, after much consideration, she decided to keep the mouthwash video up. She says it’s still a good example of “redirecting” away from a risk — something other caregivers would understand.

Life after caregiving

On March 9, Jacquelyn Revere posted another video on TikTok.

“Hey ya’ll, I just wanted to come in and tell ya’ll that, that Mommy passed. She passed on Sunday night. … And it was, it was a really hard experience. And that’s really all I have for now. So lift us up in prayer. Send us your condolences. But Mommy is dancing up in heaven right now.”

Lynn Hindmon had collapsed suddenly at home on the evening of March 6. She died of cardiac arrest at the age of 65. On Tik Tok, the messages of surprise and condolence poured in.

“There were people who tuned in … to literally just watch Mommy eat in the morning, and then whatever we did at lunch time,” Revere says. “And people became a part of our family. People cried. People have been so touched by this story and have mourned my mom in a way that I never would have expected.”

For Revere, an only child, she’d always assumed that when her mom died, she’d have to mourn her alone. Instead, people were checking in on her, sending her gifts, sharing memories of their favorite videos of Lynn.

“It’s been the least lonely I’ve ever been throughout this experience actually,” she says. “It’s not just my lonely journey anymore. Now it’s everyone’s.

Revere has continued to post on @MomofMyMom. Recently she’s been posting about her grief. In videos, she talks about what it feels like to miss her mom, and to mourn the life she didn’t live while she was caring for her.

Now she has all the time in the world. She can go on dates. She can take her dog, Dewey, to the dog park again, let him lean out the open window in the car. Go out for a pedicure or drive by the ocean. But it’s been hard to let herself do these things, she tells her followers. Because what they mean is that her mom is gone.

After six years of caring for her mom, starting when she was just 29, Revere is now trying to figure out who she is now — and what she wants. She knows she wants to stay connected with dementia caregivers, especially the ones who don’t have huge followings, or who don’t get thousands of comments about what a good job they’re doing.

“I just want them to know that they’re being thought about,” Revere says. “Because that’s what I needed most. Just to know that life isn’t passing me by, and I’m not seen.”

“I just want to make sure that they feel seen.”

https://www.npr.org/sections/health-shots/2022/10/11/1102436118/on-dementia-tiktok-family-caregivers-find-support-and-bring-the-disease-to-light