With a rich and storied history in the Greater Roseland Area, Roseland Community Hospital demonstrates a stellar example of a community hospital that is both owned and operated by the people that it serves
Since opening in 1924, the Roseland Community Hospital, or RCH for short, has been offering comprehensive healthcare services to residents of Chicago’s far South Side neighborhoods, including outpatient services, a well-known Obstetrics Unit, behavioral health services, and most recently plays host to a COVID-19 clinic. The Hospital, which is located in the Greater Roseland Area at 45 W. 111th St., is open 24-hours, and strives to satisfy the community and offer quality resources to each individual, a mission it has maintained since its inception. At the forefront, professional caregivers provide valuable services to patient’s recovery and overall wellness. Throughout the myriad of social, economic and political changes that have dramatically affected the neighborhoods, the Hospital has maintained a strategic focus to help those they serve. Throughout the calendar year, the team at the Roseland Hospital has created special programming as a way to give back to its surrounding community, with various activations scheduled including a Back to School celebration, an annual coat drive, a Giving Tuesday and Toy Drive initiative and much more.
“Our vision has been, and continues to be, to develop quality hospital programs and services that enable our community residents to grow and live healthy lifestyles,” said Tim Egan, President and CEO of the Roseland Community Hospital. “We see ourselves as a major lifeline to many in the surrounding communities, and will continue to strive and satisfy this community we call home.”
Due to the rich history in the Greater Roseland Area, the neighborhood surrounding the hospital has continually evolved beginning with a Dutch settlement in 1840. Since then, most importantly, “The Great Migration” played a major role in immigrants and thousands of African Americans pouring into the community in search of employment opportunities. Today, African Americans comprise of ninety-nine percent of Roseland Community Hospital’s patients; and seventy-five percent of RCH’s administrators, doctors, nurses and staff. Increasingly, the community has also been seeing a rising percentage of Latino residents to the area.
The Hospital provides a wide range of services including an Obstetrics Unit, Behavioral Health Services, a Medical Stabilization Unit, Outpatient Services, a Mobile Dental Clinic, a COVID-19 Clinic and a Special Supplemental Nutrition Program for Women, Infants and Children. Roseland Community Hospital has experienced the privilege of providing healthcare services for the people who currently call Roseland their home.
To learn more about Roseland Community Hospital and all the services they have to offer, please click HERE.
“We’re all connected through culture. Basically, we all must learn to adapt. We learn more through traveling and seeing more. When you’re in a different environment, everybody must love and laugh and dance. I don’t need to know your language. But companies need to focus on connecting everyone through love, not war.” – Vaughn Lowery
Corporate Social Responsibility (CSR) has been around for years, with its’ roots being found as early as the 18th Century. In my CSR research assignment before, I wrote that “the key idea of CSR is for companies to pursue pro-social objectives and promote volunteerism among employees (such as through donating to charity and participating in volunteer work), as well as by minimizing environmental externalities.” As an international student trying to find my career path in the United States, I find that company CSR is one of the first few things I look for when finding a suitable company to work with: how genuine they are and how much they care for their employees. The process of researching and writing my essay on CSR in the modern day and CSR within my internship site provided me with the valuable opportunity not only to learn about an important business topic, but also allowed me to develop a better understanding of what it is.
For my CSR Interview, I got the opportunity to speak on the phone with my supervisor Vaughn Lowery. His career started from “humble beginnings in Detroit to a full scholarship in Cornell University under the ILR program. From there, he became active in modeling, acting, and producing screenplays.” Now, Vaughn is the publisher and founder of leading fashion and lifestyle magazine, 360 Magazine, which is also my internship site. His job involves fostering relationships within the community and being an editorial director that curates and oversees content for all columns of the magazine. The position also entails making sure that Apple News, LinkedIn, Twitter, and all other news sites are updated. As a pop culture and design magazine, it is important to constantly be up to date with relevant content and breaking news. Being a quarterly publication, 360 is also working on their summer magazine issue. Vaughn mentions that with COVID making everything digital, the team has been working on expanding the business: creating a self-publishing division, developing e-commerce, getting sponsors, and most importantly, waiting for things to start opening back up.
With a background in studying business and company culture, Vaughn says that his education helped him design a company culture that made sense, “Transparency, cool kids, intelligence. I wanted a space for comfort regardless of race, age, and religion. Education was not the answer to my business but a part of the process to help with preparing for my magazine. The most important thing is life experiences, there are no books on it.” Vaughn emphasizes sending people in his company for events and communicating with clientele because “you can’t speak about things you don’t know.” COVID has made jobs in the media a little more mundane, but he’s excited about things opening back up and is hopeful for the future. Without in-person experiences, it is hard to understand the inner workings of media companies with everything being digitally produced.
Vaughn defines Corporate Social Responsibility at 360 Magazine as “having an environment that is inviting and inclusive, especially showcasing inclusivity.” As a magazine that promotes culture and lifestyle, it is important that everyone he works with is aware of what is going on in the world that we live in and what is happening with minority populations. He speaks about being the only African American in a lot of his school and work experiences, and he created 360 with the ideal of having more minorities and women working in his company: “We all live in the same world… and some people don’t know that. But we need representation and for people to see us. It’s not on us to educate them, but it’s on us to speak up.” 360 avidly speaks up for diversity (#metoo) and openly supports nonprofit organizations.
When asked about how veritable he thinks big companies are with CSR movements, he says that they’re doing it for a myriad of reasons. Companies get away with more stuff as a corporation, “But the responsibility is about being genuine. The board of directors and Zoom calls and the whole spiel. If they’re trying to just make money, revenue principals are not true to themselves. 360 was founded on real culture. The diversity is important. It is what it is.”
“Your company diversity is a reflection of the world, we’ve been doing this since the start of 360, we’ve been ahead of the trend.” The magazine has always featured drag queens, people who are transgender, and minorities, “This is very important when doing events and stuff, it’s a big family. We have less than 50 people. And it’s important for our clients to know that we have each other and rely on each other. That we know how to respect one another and appreciate each other, despite all odds.” Vaughn believes that diversity and inclusion of people of color has always been important, and he emphasizes that 360 will keep pushing these agendas and morals as long as he’s the head of the company. I see this in his effort to get everyone together (even if it is just on Zoom for now) to celebrate big articles, book releases, sponsorships, and so on.
As I type this interview essay, I find two key points to really reflect on: 1) assumptions about company morale and 2) why diversity is so important to me.
1) I think back on everyone else I’ve spoken to during my time as an intern here with 360, and I find that these core values that Vaughn spoke about with me are reflected in all the conversations I’ve had with him and other employees. Coming from a very structured, patriarchal Asian background, I came into this internship thinking that it would be like all my previous experiences (they talk of diversity, but it’s never really executed once you’re a part of it – school projects, internships, part-time jobs, and so on). However, no one in the company has been curt or condescending when speaking with me, and they truly mean it when they point out mistakes and gently correct me. Maybe it is because of the way I was brought up, or the environment I was most familiar in, but these good intentions had me on my toes for the first couple weeks I was here, and I’m honestly still getting used to it.
2) With the rise of Asian hate crimes in the past year, I find myself turning very reclusive and immediately trying to find fault with people when something brushes me the wrong way (though sometimes it really is a racist comment or remark). It’s been difficult having to correct people when they say my name wrong or trying to explain my culture when these simple things can so easily be looked up online. I’ve been very lucky growing up well-traveled and seeing different parts of the world, and I understand that not everyone has that privilege, but how far does “I don’t know” get you in the digital age? I need to work in a company where people are willing to learn and grow new perspectives, and I see this quality in Vaughn too as he speaks about his loneliness as the only African American in his industry when he was first starting out.
After 45 minutes of talking about diversity and the whole CSR conversation winding down, Vaughn tells me to keep doing what I love, “Understanding the industry through work experiences is how you’ll get in. It’s constantly changing.” He talks about learning to forecast and foreshadow and having connections at arms’ reach. By the end of our conversation, I felt that I learnt a lot and could have a clearer vision of what I wanted out of this internship. I’ve had the opportunities to go for company events (for brands including Lillet, Chinese Laundry, Rockstar Original, etc.), though I would really like to be able to go to a CSR event in the near future to promote these same values that I share with 360 Magazine.
To read more about Vaughn Lowery, please visit his Wikipedia and IMBD.
Leading up to the postponed 2020 Summer Olympic Games in Tokyo—with opening ceremonies scheduled for Friday, July 23—the International Swimming Federation (or FINA, a shortening of the “Fédération Internationale de Natation”) has banned the use of swim caps specifically designed to fit the volume and texture of Black hair. Their reasoning for such a targeted and controversial ban seemingly lies in the cap’s novelty, leaving officials wondering how the product may affect different Olympic swimming events. (Many people have been quick to point out, however, that the larger size of these caps could actually cause more drag in the water rather than any sort of advantage.) In a statement, FINA said that, to their knowledge, “the athletes competing at international events never used, neither required, […] caps of such size and configuration.” Additionally, they took issue with the fact that the caps do not lay flat and tight across the head as other swim caps used by white athletes do.
The caps of interest were created by a Black-owned British company called Soul Cap. According to their website, their products are intended for “those with dreadlocks, weaves, hair extensions, braids, thick and curly hair” and are “designed with extra room in mind.” Their business—which was founded in 2017 and includes a variety of swimming-related haircare products for those “blessed with voluminous hair”—grew out of an understanding that the beauty industry was overlooking the needs of these individuals.
Preceding this controversy, Soul Cap had partnered with marathon swimmer Alice Dearing, the first Black female swimmer to represent Great Britain in the Olympic games. This partnership was intended to promote diversity in the world of swimming and help break down barriers for other minority swimmers who may be blocked from competing at the highest level. “Swimming as a sport hasn’t always been as accessible to people from minority communities,” Dearing said. “Increasing diversity in the water is a huge passion of mine, so with Soul Cap, […] we hope we can start to dispel those barriers.”
This decision to ban Soul Caps from the Olympics has caused public outrage among many swimmers, specifically swimmers of color. According to the BBC, one young swimmer said she was “heartbroken but not surprised” by FINA’s discriminatory action. Another swimmer, 17-year-old Kejai Terrelonge, said that swim caps made for thinner or untextured hair have posed perpetual problems throughout her athletic career. “Using the smaller swimming caps that everyone else would use—it would fit on my head, but because I put oil in my hair, when I was swimming it would just keep sliding off, and my hair would get wet,” she said. Since Black hair is naturally drier than other hair, exposure to chlorine and other chemicals in pool water can cause severe damage to hair. In 2019, Dearing herself even acknowledged that she “can fully understand why someone would quit [swimming] over their hair.”
Non-athletes have also joined in on this critique of FINA, taking to Twitter to voice their frustration. One user called the decision “cultural insensitivity on an international scale.” Another said, “this misguided notion of uniformity is the antithesis to inclusion.” “It’s 2021 and still there is ignorance about Black hair and naturalness,” said another Twitter user. “People who make decisions about Black hair should do the research first. Our hair may not be natural to you but it is to us!” This final sentence seems to be a direct response to another quote from FINA in which they said that Soul Caps do not “fit the natural form of the head.”
Unfortunately, this move to ban swim caps for Black hair has not been the only inequitable decision surrounding Black female athletes made by Olympic athletic committees. Last week, 21-year-old sprinter Sha’Carri Richardson was suspended from the Olympic team after testing positive for THC and thus failing her drug test. While marijuana is explicitly against the rules for competing athletes according to International Olympic Committee (IOC) standards, many people were outraged at Richardson’s suspension seeing as the drug is legal in Oregon (where Richardson ingested it) and the drug’s known effects are in no way performance-enhancing. Actor and outspoken supporter of marijuana Seth Rogen weighed in on Twitter, saying, “The notion that weed is a problematic ‘drug’ is rooted in racism. It’s insane that Team USA would disqualify one of the country’s most talented athletes over thinking that’s rooted in hatred.”
In another Olympic-centered controversy, 18-year-old Namibian sprinters Christine Mboma and Beatrice Masilingi were withdrawn from the 400-meter race due to their “natural high testerone level[s],” according to the World Athletics governing body’s policy on Athletes with Differences of Sex Development. This policy states that women’s blood testosterone levels must be below 5 nanomoles per liter to compete in the 400-meter race, among other events. These new regulations were introduced in 2018, and the only proposed solution for these athletes is to lower their testosterone levels with medicine in order to compete. It is important to note that neither Mboma, Masilinigi, their families nor their coaches were aware of their hormonal condition prior to being tested.
As these debates that target the rights and Olympic potential of Black female athletes continue to unfold, FINA has announced it will review the original decision to ban Soul Caps from the summer games. In an official statement, FINA said that it is “committed to ensuring that all aquatics athletes have access to appropriate swimwear for competition where this swimwear does not confer a competitive advantage.” FINA also said that it plans to “speak with the manufacturer of the ‘Soul Cap’ about utilizing their products through the FINA Development Centers.” No further statements or decisions have been made at this time.
According to the official Olympics website, part of the IOC’s mission is “to act against any form of discrimination affecting the Olympic Movement” and “to encourage and support the promotion of women in sport at all levels and in all structures.” And yet, the past few weeks have revealed unflattering truths about the international world of athletics and the discrimination that athletes of color—specifically female athletes of color—repeatedly face in order to pursue their Olympic dreams. The IOC represents the highest standards of athletics and competition, and thus they must rise to the same standards when it comes to protecting, empowering and uplifting the athletes who participate.
FIRE IN LITTLE AFRICA ALBUM OUT NOW + POWERFUL VISUAL FOR ELEVATOR VIA MOTOWN RECORDS/BLACK FORUM IN PARTNERSHIP WITH THE BOB DYLAN CENTER AND WOODY GUTHRIE CENTER, Album Brings Fresh And Important Perspective To The 1921 Tulsa Race Massacre And Celebrates The City’s Vibrant Hip Hop Scene, LISTEN & STREAM FIRE IN LITTLE AFRICAHERE, WATCH ELEVATOR VISUAL HERE
Fire in Little Africa, a groundbreaking album of original material, written and recorded by a collective of Oklahoma hip hop artists to commemorate the 100th anniversary of the Tulsa Race Massacre, will be released on May 28 by Motown Records/Black Forum in partnership with Tulsa’s Bob Dylan Center and Woody Guthrie Center.
The 21-track collection gets to the truth of what happened on May 31 and June 1, 1921 when a white mob descended on the streets of Greenwood, then a prosperous Tulsa neighborhood known as Black Wall Street, and burned down the business district, destroying roughly 1,500 homes, killing hundreds and leaving thousands of Black Tulsans homeless. For years, this historic, albeit dire, chapter was left out of classrooms and textbooks as the city attempted to erase this part of its past. The artists heard on Fire in Little Africa get to the truth through urgent songs, recalling stories told and stories lived in hope to usher in a new era for Tulsa as they help the community process this generational trauma through music.
‘Fire in Little Africa’ is a powerful and timely project that provides a platform and outlet for the incredibly talented and thriving music community of Tulsa, Oklahoma, said Motown Records Chairman & CEO, Ethiopia Habtemariam. Carrying the legacy of the Black Wall Street community, ‘Fire in Little Africa’ is a body of work filled with purpose and prolific storytelling. I am honored and feel privileged to have Motown Records/Black Forum partner with Dr. View, the Bob Dylan Center and Guthrie Center to release this impactful hip-hop album.
City of Dreams
Party Plane (feat. Charlie Wilson)
Been Through It All
Creme of the Crop
918 Thug Town Skit
P.O.D. Pt. II
North Tulsa Got Something to Say
Brunch at the Brady
Young & Free
I am honored to be a part of the ‘Fire In Little Africa’ album featuring the musical contributions of young talented local artists from my hometown of Tulsa, Oklahoma. This tragedy has been suppressed for generations. Charlie Wilson continues, Growing up in Tulsa we named our band, The GAP Band, after Greenwood, Archer and Pine Streets, the wealthiest and most successful African American community in the United States in the early 20th century. I am proud to see a new generation of talented Tulsans continue to tell the story of our ancestors. They are opening the door for many generations to come by shedding light not only on the race massacre but the excellence of the Black Wall Street and Greenwood community.
Stevie Dr. View Johnson, PhD, Manager, Education & Diversity Outreach at the Woody Guthrie Center|Bob Dylan Center and the album’s executive producer added, Fire in Little Africa has evolved into a communal hip hop movement and we’re excited that we get to share the flavor, history and legacy of Black Wall Street with the world, in collaboration with the amazing leadership of the Motown/Black Forum family. We’re grateful for Ethiopia’s foresight in providing us an opportunity to share our important stories with the world. There are Black Wall Streets across the diaspora and we unequivocally know that ‘Fire in Little Africa’ will inspire many people. In the words of Steph Simon, ‘everything is us.’
In this feature Rolling Stone noted, ‘Fire in Little Africa’ is poised to teach the world about that long-suppressed history, from locals who grew up in a community that still lives with the aftermath of the massacre. Just as important, the artists involved in the project also hope it serves as a launching-pad moment for Tulsa’s hip-hop scene, which has long flown under the national radar.
The album was recorded in Greenwood over a five-day period in March 2020. Studios were set up at the Greenwood Cultural Center and other locations, including the former home of 1921 massacre mastermind/KKK leader Tate Brady. The house is now owned by former NFL first-round draft pick and Tulsa native Felix Jones. The Tulsa World was on hand to speak with the artists involved in the historic sessions. Read the article HERE and check out the accompanying video HERE.
‘Fireside with Dr. View’ is a weekly podcast featuring Dr. View in conversation with thought leaders in activism, academia and culture, centered on the movement behind the Fire in Little Africa music. Listen to Fireside with Dr. ViewHERE. Hosts Ali Shaw and Doc Free sit down with Fire in Little Africa artists, Tulsa community leaders and national voices for conversations on music and culture in the Fire in Little Africa podcast, which can be found HERE.
Located in the Tulsa Arts District, the Woody Guthrie Center opened in 2013. The Bob Dylan Center is expected to open on the same block within the next year. Both are projects of the George Kaiser Family Foundation, the primary funder for Fire in Little Africa. The album is chronicled in a documentary film, which will be released later this year.
Fire in Little Africa marks the first new material released by Black Forum since the label’s relaunch earlier this year. Black Forum originally debuted in 1970 with Dr. Martin Luther King Jr.’s Why I Oppose The War In Vietnam, which won a GRAMMY Award for Best Spoken Word Album. The label reissued Dr. King’s influential speech earlier this year.
Respect is a new biopic that covers an iconic female performer, Civil Rights Activist, and Queen of Soul Aretha Franklin. Following the rise of Aretha Franklin’s career from a child singing in her father’s church’s choir to her international superstardom, Respect is the remarkable true story of the music icon’s journey to find her voice.
It will star another icon in her own right, Jennifer Hudson, as Franklin. This is not her first time acting, and has also been in films like Spike Lee’s Chi-raq and in the first season of the Fox hit series: Empire. Given her background as a singer, her acting chops and what we’ve seen of the film so far, I’m certain Hudson will be excellent. The film also stars Forest Whitaker (Star Wars, Black Panther) and Tituss Burgess (The Unbreakable Kimmy Shmidt.)
According to Billboard, the film has had a rough journey, being originally slated for release in the fall of 2020, and has been delayed several times due first to the pandemic and then because of a number of other factors. Thankfully, the film is finally set to release so we’ll get to see the film that’s been in the works for so long.
Director Liesl Tommy makes her feature film debut with Respect. She’s previously been known for directing plays. Tommy is the first Black woman ever nominated for a Tony award for Best Direction of a Play in 2016 for Eclipsed, and is an Associate Artist at the Berkeley Rep and an Artist Trustee with the Sundance Institute’s Board of Trustees.
With a story by Callie Khouri (Oscar® winner for Writing, Thelma & Louise) and Tracey Scott Wilson, and screenplay written by Tracey Scott Wilson. Wilson and Tommy have worked together creatively since the 2009 play The Good Negro written by Wilson, directed by Tommy at The Public Theatre. Wilson was a writer on FX’s hit series: The Americans which garnered her a Peabody Award as well as an Emmy® and WGA Award nominations.
The film is set to release in theatres on August 13, 2021. To watch the new trailer, click HERE.
JENNIFER HUDSON ANNOUNCES ORIGINAL SONG FROM ARETHA FRANKLIN BIOPIC RESPECT: “HERE I AM (SINGING MY WAY HOME)” CO-WRITTEN WITH CAROLE KING OUT FRIDAY
RESPECT ORIGINAL MOTION PICTURE SOUNDTRACK OUT AUGUST 13 VIA EPIC RECORDS
IMPACTING RADIO ON JUNE 21
Academy® Award-winning actress and GRAMMY® Award-winning recording artist Jennifer Hudson announces a new original song entitled “Here I Am (Singing My Way Home),” co-written with four time GRAMMY® Award winner, Kennedy Center Honoree, and Rock and Roll Hall of Fame and Songwriters Hall of Fame Inductee Carole King (marking their first collaboration) and Jamie Hartman [Lewis Capaldi, Christina Aguilera] out Friday. GRAMMY® Award-winning Black Eyed Peas co-founder and mega-producer will.i.am produced the track. Hudson announced the collaboration on her social platforms this morning – HERE.
Paving the way for Hudson’s blockbuster bigscreen turn as Aretha Franklin, it will appear on the Original Motion Picture Soundtrack to RESPECTand serve as the film’s only original song. Hudson was handpicked by Franklin to portray her in the film from MGM, which opens in theatres nationwide on August 13. The soundtrack will be available on the same day.
Get “Here I Am (Singing My Way Home)” HERE Friday via Epic Records.
Hudson added, “Music is such a living and breathing character in this film, as it was in Ms. Franklin’s life. The process of creating this song was like constructing the greatest tribute I could possibly offer to her spirit. It was the final exhale of this extraordinary project and one that I let out with complete fulfillment. Being able to do so with Carole and Jamie was an incredible privilege. Carole is one of the greatest songwriters of all time and, whether we were trading stories, playing piano together over video conference, or working through lyrics, it was always a masterclass – both in life and music. Jamie and I have collaborated together in the past and it’s always so wonderful to create with him – he is continuously thinking outside of the box in a way that deepens the musical experience in indescribable ways. Our goal was to show that music was always the anchor for Ms. Franklin, in all that she did, and I hope this song illustrates the strength of her voice – both literally and figuratively – which always brought her home.”
About the collaboration, King commented, “Writing a song with Jamie Hartman and Jennifer Hudson felt both familiar and fresh at the same time. The process of songwriting continues to amaze me. One minute there’s nothing, and then a song grows out of the seed of an idea. The seed was dormant when Jennifer, Jamie, and I first met virtually. Jennifer and I had previously performed together, and I was excited about writing with her for no less than a film called Respect in which Jennifer plays Aretha Franklin! I’m so pleased to have not just one but two songs as part of the soundtrack of Respect-the 21st century song “Here I Am (Singing My Way Home)” and my 20th century co-write with Gerry Goffin, “(You Make Me Feel Like a) Natural Woman.”
Epic Records Chairwoman and CEO Sylvia Rhonesaid, “What Jennifer, Carole, and Jamie have created together is nothing short of historic. It celebrates the legacy of Aretha Franklin by channeling her spirit and style in an original, no less. As soon as I heard it, I was speechless. It has all the elements of a future American songbook staple.”
“Here I Am (Singing My Way Home)” highlights Hudson’s earthquaking range with a seismic crescendo. Right out of the gate, she proclaims, “It’s time for me to sing” over glorious church organ before twinkling piano wraps around her vocals. It officially impacts Hot AC and Urban AC on Monday June 21.
One of the biggest, boldest, and brightest voices in contemporary music, Jennifer Hudson stands alone. Not only is she a two-time GRAMMY® Award winner and best-selling author, but she has received an Academy® Award, a Golden Globe®, and countless other honors as an actress. Her self-titled 2008 debut Jennifer Hudson earned a platinum certification, the 2011 follow-up I Remember Me went gold, and 2014’s JHUD drew a GRAMMY® nod. She has starred in films ranging from Dreamgirls and Sex and the City to Chi-Raq and Sing, in addition to taking over Broadway in The Color Purple, for which the soundtrack garnered Hudson another Grammy win. Along the way, she became a best-selling author and served as a coach on The Voice UK and U.S. In 2019, she appeared as Grizabella in the big-screen adaptation of Cats, and she also contributed “I’ll Fight” to the critically acclaimed documentary RBG, garnering an Academy® Award nomination. In 2021, she stars as Aretha Franklin in director Liesl Tommy’s highly anticipated biopic Respect, of which she is also an executive producer. Franklin personally chose Hudson to star. She will be releasing new music soon.
Jennifer Hudson and RESPECT dazzled the crowd Sunday night at a premiere fit for a queen
Celebrating the legacy of Aretha Franklin was director Liesl Tommy and costars Marlon Wayans, Marc Maron, Tituss Burgess, Audra McDonald, Tate Donovan, Hailey Kilgore, Saycon Sengbloh, Skye Dakota Turner, screenwriter Tracey Scott Wilson, producers Scott Bernstein, Jonathan Glickman and Stacey Sher, and more.
Other guests included Timbaland, Jennifer Holliday, Debbie Allen, Michael K. Williams, Tori Kelly, Derek Hough, Jordin Sparks, and more
After the premiere, attendees celebrated outside, complete with food trucks and music from Donald Taylor and the LA Mass Choir. Aretha Franklin’s granddaughter Grace Franklin graced the audience with her grandmother’s favorite song, “Ain’t No Way,” and Aretha’s son Edward Franklin sang “My Girl.”
Following the rise of Aretha Franklin’s career from a child singing in her father’s church’s choir to her international superstardom, RESPECT is the remarkable true story of the music icon’s journey to find her voice.
DIRECTOR: Liesl Tommy
SCREENPLAY BY: Tracey Scott Wilson
STORY BY: Callie Khouri and Tracey Scott Wilson
PRODUCERS: Harvey Mason Jr., Scott Bernstein, p.g.a., Jonathan Glickman, Stacey Sher
EXECUTIVE PRODUCERS: Jennifer Hudson, Liesl Tommy, Sue Baden-Powell, Aaron L. Gilbert, Jason Cloth
CAST: Jennifer Hudson, Forest Whitaker, Marlon Wayans, Audra McDonald, Marc Maron, Tituss Burgess, Kimberly Scott, Saycon Sengbloh, Hailey Kilgore, Heather Headley, Skye Dakota Turner, Tate Donovan and Mary J. Blige
FROM METRO GOLDWYN MAYER PICTURES, IN ASSOCIATION WITH BRON CREATIVE AND ONE COMMUNITY
From MGM, Respect follows the rise of Aretha Franklin’s career from a child singing in her father’s church’s choir to her international superstardom, Respect is the remarkable true story of Franklin’s journey to find her voice.
If you’ve been tracking the nation’s progress in the fight against Covid-19, physicians and public health officials of color have been highlighting the need for health equity in the national dialogue. As the data on mortality rates becomes clearer, there is no mistake that the pandemic is impacting African American and Latino communities to a much greater extent. Current mortality rates for Blacks and Latinos is almost 2.8 times that of whites suggesting significant health inequities exist. The discussion about why these inequities are taking place has been less clear and even less clear is how to address this reality.
The key may be in educating healthcare providers about the root cause of these inequities and empowering patients that access healthcare systems.
Health inequities are the differences in health outcomes due to unfair conditions or factors that different populations may face. These factors can include access to quality care, inadequate housing, lack of access to quality food, poverty and systemic racism. Public health researchers and healthcare providers have known about health inequities in the US for over 40 years and the research about what to do point to a confluence of factors that center on economic, educational and social change. Even before the pandemic, Native American and Black women are 2.5 times more likely to die in childbirth than Whites. Women are under diagnosed for heart disease.
Research points to the presence of unconscious and systemic bias as well as a lack of culturally competent care.
https://www.cbpp.org/research/poverty-and-inequality/tracking-the-covid-19-recessions-effects-on-food-housing-andThe pandemic exacerbated the impact of these factors in profound ways. If we look at the fact that essential front line workers–cashiers, bus drivers, food service providers, healthcare workers, postal carriers, warehouse workers, receptionists–have high concentrations of Black and Latino workers, it becomes much easier to understand why so many victims of Covid-19 are from these communities. And if we also explore the role poverty plays in the pandemic, we know that crowded housing conditions where social distancing is not possible has been a factor. The reality is that low income, hourly workers are not able to do their jobs remotely using telecommuting or video conferencing. Many of these workers also experience a harder time finding personal protective equipment that can be a burden for tight household budgets.
The pandemic has set the stage for profound changes in healthcare and its about time.
Two important responses that have emerged in the nation’s healthcare systems is an awareness that physicians, nurses and other caretakers must accept that–like all other human beings–they suffer from unconscious biases. It’s those snap judgements about a person’s race, ethnicity, age, ability, and socioeconomic status that enter into each encounter which can influence the recommended course of care. Those biases can be positive or negative but we all make those associations. The pandemic has accelerated the
extent to which hospitals are seeking training for front line staff and providers in order to reduce the likelihood of these biases and provide more culturally competent care.
These programs include an awareness of how bias impacts the experiences of patients and what may be important factors to consider in working with different populations. Culturally competent care encourages staff to look at how the patient may be experiencing their illness and what their own understanding of how to improve their health. It means taking into account the patients cultural of reference and listening to their unique needs.
Another response is the effort hospitals are making to partner with community clinics, faith based organizations and community organizations to win the trust of patients. This was present before the pandemic, but it has taken on a new sense of urgency as vaccine adoption rates have faltered in Black and Brown communities. Since the implementation of the Affordable Care Act, not for profit hospitals which are the majority of facilities in the US have been asked to report what community benefits they provide to address known community needs.
Despite all of these approaches for improved healthcare services for diverse patients, it will take years before all health systems are aligned on their approach to advance health equity.
The most vulnerable patients need quality care now.
A visit to the doctor—even on-line—may require some key steps to ensure the best care is made available. Three steps that can make a big difference for patient visits. First, bring an advocate with you–a family member or friend who will join you in your visit and support your being heard or to help you ask the right questions. You’ll have to give them permission to be with you given privacy rules in healthcare but it’s worth it. Having a trusted advocate can be a big relief if there’s a lot of options to explore or if there’s different treatment steps involved. There’s a growing field of professional Patient Advocates — sometimes called Patient Navigators that help individuals with navigating treatment options, getting insurance payments, and arranging for home health care if needed. Your health may rely on having someone who understands the complexity of healthcare systems to support you.
Next, review the information your physician provides about the condition or illness and the medicines you may be asked to take. Ask your doctor what information you most need to understand for your treatment or what to do to support your health. Most physicians will provide information on a condition or point you to a reputable website for more information like the Mayo Clinic Review what your physician provides to be informed about the options and treatments presented.
Last, communicate with your care team throughout the course of your treatment or care. If you are struggling with side effects in your treatment or symptoms worsen, call your doctor or the nurse practitioner assigned to your care. Take an active role–with your advocate–to look at options for continued treatment. Poor communication with your physician can put you at greater risk for poor health outcomes. During these challenging days, preparing for each time you visit your physician can set the stage for you to receive the very best care available
About the author -Maria Hernandez, Ph.D., President and COO of Impact4Health is a thought leader in health equity and pay for success initiatives designed to address the upstream social determinants of health among vulnerable populations. Maria currently leads the Alameda County Pay for Success Asthma Initiative which is testing the feasibility of reducing asthma-related emergencies using health education and proven home-based environmental interventions for children.
February is Black History Month and 360 Magazine would like to recognize some historic people of color who have become a positive influence on society. In 2020, the Black Lives Matter movement skyrocketed and brought attention to the diversity that still exists within our community. Although society has come a long way from the early 1900s when segregation ran rampant, the movement for equality has a long way to go. From inventors to musicians, there are a number of successful people we would like to acknowledge in honor of Black History Month.
Martin Luther King Jr. Arguably one of the most important leaders in the Civil Rights Movement, Dr. King spent his time preaching for equality in a peaceful way. He will always be remembered for his famous “I Have a Dream” speech and his ability to lead others in this historical movement. Dr. King is one of the most influential
Joseph E. Lowery Joseph E. Lowery is the grandfather of 360 Magazine’s President Vaughn Lowery and founded the Southern Christian Leadership Conference alongside Dr. King. Throughout his life, Lowery served as vice president, chairman of the board and president of the Southern Christian Leadership Conference as well as a leader in the Civil Rights Movement.
George Washington Carver Many people are familiar with George Washington Carver for his inventive skills. He made over 300 products from peanuts and as an agricultural scientist promoted methods to prevent soil depletion.
Garrett Morgan Garrett Augustus Morgan, Sr. is to thank for the invention of traffic lights as well as gas masks. Every time you stop at a red light, take a moment to think of Morgan for this essential technology.
Barack Obama As the first black president of the United States, Barack Obama made an impact as the 44th president and showed young people of color they have representation in politics. He continues to use his voice to connect with the American people.
Kamala Harris Keeping in the theme of politics, Vice President Kamala Harris is the first woman vice president, the first African American vice president and the first Asian American vice president. She’s giving young women of color everywhere a sense of representation.
Madam C.J. Walker As the first recorded female self-made millionaire in America, Madam C.J. Walker was an influential entrepreneur, philanthropist and activist of her time.
Frederick McKinley Jones Frederick McKinley Jones was the co-founder of Thermo King and he brought incredible improvement to long-haul transportation of perishable goods. Jones also won the National Medal of Technology.
Stevie Wonder Stevland Hardaway Morris, better known as Stevie Wonder, is a musical prodigy that became blind after birth and learned to play the harmonica, piano and drums by age nine. He is now a notable singer, songwriter, musician and record producer.
Lonnie Johnson Lonnie Johnson is known for his success as an aerospace engineer. He has worked on the U.S. Air Force term of service and has also worked at NASA for twelve years including in the Jet Propulsion Laboratory.
Patricia Bath As an ophthalmologist,Patricia Bath was an early innovator of laser cataract surgery. She was also the first woman, African American physician to receive a patent for a medical invention.
Harriet Tubman After being born into slavery, Harriet Tubman was a conductor of the Underground Railroad and helped many enslaved men and women escape. She led many people to freedom with her bravery and connection with antislavery activists.
Rosa Parks Rosa Parks gained her notoriety as an activist in the Civil Rights Movement and is known for starting the Montgomery bus boycott after refusing to give up her seat to a white passenger. She has been called “the first lady of civil rights” and “the mother of the freedom movement” by the United States Congress.
John Lewis John Lewis was chairman Student Nonviolent Coordinating Committee (SNCC) as well as one of the “Big Six” leaders who organized the 1963 March on Washington. He was an essential part of the Civil Rights Movement and ending legalized racial segregation.
Alexander Miles If you’ve ever ridden in an elevator, you can thank Alexander Miles for the automatic opening doors; he was awarded the patent for this invention in 1887. Mills was riding in an elevator with his daughter and he deemed an elevator shaft door left open could be dangerous.
Mary Kenner Mary Kenner was an inventor famous for her development of the sanitary belt, the precursor to the self-adhesive maxi pad. However, due to racial discrimination, the idea wasn’t adopted for thirty years. She has five patents for various household items.
Maya Angelou Known for her many famous pieces of writing, Maya Angelou was a poet, memoirist and civil rights activist. Over fifty years, she wrote a number of autobiographies, essays, poems, plays, movies and television shows. She also received over 50 honorary degrees as well as awards for her writing.
LeBron James Along with being considered one of the greatest NBA players of all time, LeBron James also started the LeBron James Family Foundation to help create generational change for the children and families of LeBron’s hometown in Akron, Ohio.
Malcolm X As a popular spokesperson at the time of the Civil Rights Movement, Malcolm X encouraged Black Americans to protect themselves against racism. He preached a much different lesson than Martin Luther King Jr. who preached nonviolence.
Thurgood Marshall Thurgood Marshall was the Supreme Court’s first African American justice as well as a prominent civil rights activist. He served on the court for 24 years and helped with influential rulings at the time of the Civil Rights Movement such as the case of Brown v. Board of Education.
Jackie Robinson Jackie Robinson was the first African American to play in Major League Baseball in the United States during the 20th century. He broke the color barrier of the MLB when he played for the National League Brooklyn Dodgers as second baseman with the jersey number 42.
The doc was directed by Daniel Junge and Steven Leckart, and executive produced by JJ Abrams and Glenn Zipper. It provides a complete look at the events leading up to the takeoff and includes interviews with family members of the seven astronauts who died in the explosion.
According to CNN, the series uses archival footage and home videos, along with interviews from officials and crew members to shed light on the poor decision-making and systemic failures that led up to the disaster, as well as the aftermath that followed.
Challenger took off from the Kennedy Space Center in Cape Canaveral on January 28, 1986. Just 73 seconds after it launched, the shuttle began breaking apart, due to malfunctioning O-rings in the rocket boosters, which hardened as the temperature decreased. NASA had reportedly known about this damaged hardware for months prior, according to Vanity Fair.
The purpose of mission STS-51-L was to deploy a satellite to study the approaching Halley’s Comet, but it had been delayed multiple times because of technical difficulties.
The crew was one of NASA’s most diverse to date, as reported by the New York Post. One of the astronauts was a teacher, so school children across the country watched in class as the shuttle went down, engulfed by a huge, ominous cloud of smoke. The explosion devastated the nation, especially all of the young children who had watched it live.
Nearly thirty-five years later, we remember the passengers who lost their lives on that dreadful day:
Christa McAuliffe was a teacher at Concord High School in New Hampshire who learned of the Teacher in Space Project— NASA’s plan to fly an educator into space. NASA had hoped that this would help increase public interest in the space shuttle program.
Along with 11,000 others, McAuliffe applied in 1984 to be the first teacher to communicate with students from space. She was chosen as one of two finalists from New Hampshire, then was selected to be part of the STS-51-L crew by a Review Panel in Washington, D.C.
McAuliffe took a year off from teaching to train for the space shuttle mission. While in orbit, she was planning to conduct experiments in chromatography, hydroponics, magnetism and Newton’s laws. She also would have taught two 15-minute classes— one providing a tour of the spacecraft, the other about the benefits of space travel— which would have been broadcasted to students on closed-circuit TV.
The nationwide excitement of having McAuliffe in space was a significant reason why the explosion had such a lasting impact on the country, and was especially upsetting for young students who watched the takeoff or extensive coverage in class.
Gregory Jarvis was an engineer for Hughes Aircraft who served as Payload Specialist 2 on Challenger. In 1984, he was one of two employees from the company that were selected for the Space Shuttle program.
Jarvis was originally supposed to make his shuttle flight in April 1985, but was rescheduled to early January 1986, then rescheduled again, landing him a spot on the STS-51-L crew. From space, he planned to conduct experiments on the effects of weightlessness on fluids.
After graduating from Carnegie Mellon, Judith Resnik worked as a design engineer in missile and radar projects at RCA (Radio Corporation of America). There, she performed circuit design for the missile and surface radar division. She later developed electronics and software for NASA’s sounding rocket and telemetry systems programs.
Resnik qualified as a professional aircraft pilot in 1977 and was recruited into the NASA Astronaut Corps in 1978. She was one of six women selected for the program out of 8,000 applicants. At NASA, and piloted the Northrop T-38 Talon, trained intensely, conducted research, and developed different systems and software.
Resnik served as a mission specialist on the maiden voyage of Discovery in 1984 for her first space flight from August to September. During this flight, she operated a shuttle’s robotic arm (which she created), and deployed and conducted experiments on a solar array wing to determine if there was a way to generate additional electric power during missions. She was the second American woman in space and the first Jewish woman in space.
Resnik was a mission specialist on Challenger. After the explosion, further examination of the cockpit shows that her Personal Egress Air Pack was activated, indicating that she may have been alive after the cockpit separated from the vehicle to activate it. Her body was the first to be recovered from the crash by Navy divers.
Ellison Onizuka served as a flight test engineer and test pilot for the U.S. Air Force in the early 1970s. After attending the U.S. Air Force Test Pilot School from 1974 to 1975, he became a squadron flight test engineer there and worked as a manager for engineering support in the training resources division.
In 1978, Onizuka was selected for the astronaut program and later worked in the experimentation team, orbiter test team, and launch support screw for the STS-1 and STS-2. At NASA he also worked on the Shuttle Avionics Integration Laboratory test and revision software team.
Onizzuka’s first space mission was one year before the Challenger explosion, on the mission STS-51-C on the shuttle Discovery. This was the first space shuttle mission for the Department of Defense, and he became the first Asian American to reach space.
Onizuka was a mission specialist aboard Challenger. Similar to Resnik, it is speculated that he could have been alive when the cockpit separated from the vehicle because his Personal Egress Air Pack was also activated. When he died, he held the position of lieutenant colonel, but was later promoted to the rank of colonel.
Ronald McNair received his Ph.D. in Physics from the Massachusetts Institute of Technology in 1976 and became nationally recognized for his work in laser physics. After graduation, he worked as a staff physicist at the Hugh Research Lab in Malibu, CA.
McNair was one of the ten thousand applicants to be selected in 1978 for the NASA astronaut program. He became the second African American astronaut in 1984 when he flew as a mission specialist for STS-41-B on Challenger from Feb. 3-11.
McNair later served as a mission specialist for STS-51-L. During this flight, he had planned to record the saxophone solo for a song he had worked on with composer Jean-Michel Jarre for his upcoming album Rendez-Vous. This would have been the first original piece of music to be recorded in space.
McNair was also supposed to participate in Jarre’s Rendez-Vous Houston concert through a live feed from Challenger. To honor McNair, Jarre dedicated the last song on the album to him and subtitled it “Ron’s Piece.”
Michael J. Smith served in the Vietnam War, then attended U.S. naval Test Pilot School. After graduation, he was assigned to the Strike Aircraft Test Directorate at NAS Patuxent River in Maryland, where he worked on the A-6E TRAM and Cruise missile guidance systems. In 1976, later returned to NTPS for 18 months as an instructor.
Smith was selected for the astronaut program in May 1980, in which he served as a commander in the Shuttle Avionics Integration Laboratory, the Deputy Chief of Aircraft Operations, the Technical Assistant to the Director, and the Flights Operations Directorate.
Smith was the pilot for Challenger, and was set to pilot another mission the following fall. His voice was the last heard on the flight deck tape recorder with his final words being “Uh oh.”
All seven passengers were awarded with the Congressional Space Medal of Honor in 2004.
Another special edition tour will be led by long-time street art guide, Ruddy Harootian, taking guests who tune in through NYC, featuring BLM / Black Trans Lives Matter artwork, black and latino artists and recognizable graffiti artists names as well.
Walks is using their platform to be an educational tool, and celebrate the important influence black and marginalized individuals have on our society. I wanted to put these tours on your radar to see if they’re a fit for an upcoming story or you’re interested in pursuing.
The first online Street Art Tour in NYC starts virtually this Saturday and the Nelson Mandela tour will kick off July 25th (due to some timing and a cold front recently; although in South Africa they tend to celebrate him month-long). More details on each tour are compiled below.
The Black Lives Matter movement’s efforts to honor black voices is reverberating across the globe, and Walks is proud to utilize its virtual tours platform, Tours from Home, to contribute to the conversation. These tours are an educational outlet for impassioned supporters around the world, celebrating the important influence black and marginalized individuals have on our society.
Surrounding Mandela Day this July, join Nelson Mandela: From Prison to President Live from Drakenstein Prison in Cape Town, South Africa starts Saturday, July 25th, Sunday, August 2nd and Sunday, August 9th at 11 am ET / 8 am PT: You will “walk” with individuals who were both in close proximity and served as Mandela’s allies. Your guides will include Manfred Jacobs, a warden at Victor Verster prison, where Mandela spent the last 14 months of his 27-year-long incarceration and Moira Edmunds, who fought tirelessly for Mandela’s release, and is involved with the Nelson Mandela Foundation.
Each year on July 18th, the international community recognizes, commemorates, and celebrates the life of Nelson Mandela, affectionately known as Madiba. He forged the course of black Africans, leading by extreme example. Within the country of South Africa the entirety of July is dedicated to his life and his actions to end apartheid. In 2020, we celebrate 30 years since Nelson Mandela’s freedom and we invite you to join in the celebration.
Features predominantly African American and Latino artists starts this Saturday, July 18th, Saturday, July 25th and August 1st at 5 pm ET / 2 pm PT, lead by incredible storyteller Ruddy Harootian: July 18th: This entire tour will focus on the Black Lives Matter/Black Trans Lives Matter related works that have recently appeared on the outside of FIT. Artists include: Miyah Bri, Lisette Nerveli, Sarah Haskell, Mia Rivera, Grace Springer, and more.
July 25th: Artists featured live will feature well-known artists Tristan Eaton and D*Face (Dean Stockton). Some photography and focused on BLM will include Raddington Falls, Fumero, Irena Kenny, Konstance Patton, and more.
Aug 1st: Artists featured live will be infamous Shepard Fairey, Beau Stanton, and B.D. White. Artists featured via photography and focused on BLM include Shaina Eve Cintron, Calicho Arevalo, Lady Jday and more.
Key Features of Walks’ Tours From Home:
Open Q&A time at the end of each tour
Guides are screen sharing, using visual aids for their presentations, and on some tours, taking guests on live walks around important attractions
Focus on storytelling and little-known facts
Each virtual tour costs between $10 and $15, and all guests receive a $25 travel voucher for a future live Walks tour (valid for two years), enable guests to explore in person when travel resumes
When guests love their guide, digitally provide tips directly on the platform
“The pandemic presented an opportunity to bring our tours into your home, and even go outside our typical offerings to highlight amazing storytellers and touch on provocative subjects. The BLM movement is a poignant time to elevate stories of inspiring activists and revolutionaries such as Nelson Mandela, and modern-day thought leaders and artists like those featured in our street art tour around Manhattan,” said Stephen Oddo, CEO of Walks.
Walks offers over 150 unique tours and cultural experiences in 15 iconic cities across Europe and the United States. From its head offices in Dublin, Ireland and Austin, Texas, USA, Walks operates some of the most exclusive tours around the globe, partnering with prestigious attractions to offer special access to the world’s leading landmarks, museums and galleries. A complete end-to-end tour operator, Walks curates unique experiences for small groups, while delivering hands-on customer support. Walks is proud to operate a portfolio of websites including takewalks.com and walksofitaly.com.
Cincinnati Music Festival presented by P&G (CMF) won’t skip a beat in 2020. Through a marathon of new and previous music content, consumer engagement opportunities and digital presence, CMF is creating the #FEELSLIKECMF Virtual Weekend Experience, July 23-25. The innovative free event, to be available on cincymusicfestival.com, will focus on celebration, community and local impact and is also supported by AARP.
“Music provides hope, comfort and determination during uncertain times,” said Joe Santangelo, producer of CMF. “Leading up to and during #FEELSLIKECMF Weekend, we will strategically work to uplift our neighbors, support local black artists and musicians and drive commerce to local Black owned businesses and restaurants. This event promises to grow awareness of regional organizations that support the African American community, and share the positivity and history of our Cincinnati Music Festival presented by P&G.” #FEELSLIKECMF.
Schedule of Events
THURSDAY, JULY 23
Triiibe recorded live at Corporate
Aprina Johnson recorded live at Black Coffee
DJ Vader recorded live at Revel DJ Ellery
Special appearance: The State of Black Culture featuring Rev. Al Sharpton from the National Underground Railroad Freedom Center
FRIDAY, JULY 24
Lauren Eylise recorded live at Paul Brown Stadium
Kathy Wade & Joe Santangelo
DJ Baby Rome recorded live at Paul Brown Stadium
Special attraction: Cincinnati Music Festival Outdoor Art Museum at Washington Park
SATURDAY, JULY 25
DJ DNICE LIVE from Club Quarantine Additional weekend entertainment will include shout-outs from The O’Jays’ Eddie Levert, Biz Markie and more.
The Cincinnati Music festival presented by P&G returns to Cincinnati’s Paul Brown Stadium, July 22-24, 2021. The lineup features multi-talented singer-songwriter Janet Jackson and will also include an expanded and exciting Thursday lineup at the Andrew J. Brady ICON Music Center at The Banks. Tickets are on sale at CincyMusicFestival.com.
Cincinnati Music Festival: Largest Tourism Weekend of the Year in Cincinnati A recent study conducted by the UC Economics Center and commissioned by the Cincinnati USA Convention & Visitors Bureau shows the Cincinnati Music Festival presented by P&G provides a $107.5 million economic impact to the region, making it the largest annual driver of tourism in the tristate.
Cincinnati Music Festival began in 1962 and is one of the largest music festivals in the United States attracting over 90,000+ people from around the country with its roster of leading R&B, jazz, soul and hip-hop artists creating an economic impact of $107 million for Cincinnati. CMF is held at Paul Brown Stadium in partnership with the Cincinnati Bengals. Procter & Gamble is the presenting sponsor for the Cincinnati Music Festival.