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raybizzle · 5 months

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"Melinda" (1972) is an action-crime-drama directed by Hugh A. Robertson, who was the editor of the 1971 classic, "Shaft." This movie features Calvin Lockhart in the prime of his acting career, and his screen presence is as ever dominant. In addition, one of the most underrated actresses from the 70s, Vonetta McGee, appears in the film as Melinda. This movie was McGee's 7th film, and she had already garnered some success from films like "Blacula," "The Lost Man," and "The Great Silence." Afterward, she continued her lucrative career in several Hollywood movies with many versatile roles.

Trivia Question: Which other male actors played alongside Vonetta McGee?

"Melinda" is an excellent movie with a solid cast. The film's writer, Lonne Elder III, is also responsible for writing the prolific movie "Sounder." He also has two hard-to-find films we seek: "Ceremonies in Dark Old Men" (1975) and "Sounder, Part 2" (1976). Both films were T.V. movies. Elder also had a role in "Melinda" as Lt. Daniels.

Jerry Peters and Jerry Butler are responsible for producing the film's soundtrack. It's a good mix of funk and soul, with mostly instrumentation throughout the album. It's definitely above average, so make sure you listen to it. You will not be disappointed.

"Melinda," while not one of the most celebrated black films from the 1970s, still deserves recognition as a good film. It checks off most of the components of an ideal movie. I recommend this movie for viewing.

Director: Hugh A. Robertson Writers: Lonne Elder III (screenplay by), Raymond Cistheri (story by)

Starring Calvin Lockhart, Rosalind Cash, Vonetta McGee, Paul Stevens, Jim Kelly, Rockne Tarkington, Renny Roker, Lonne Elder, Ross Hagen, Jan Tice

Storyline Frankie J. Parker (Calvin Lockhart), a smooth-talking disk jockey, finds Melinda Lewis (Vonetta McGee) brutally murdered in his L.A. apartment. He turns detective to clear his name. Chased and attacked by junkies, dealers, and thugs, Frankie soon learns Melinda is the ex-mistress of a Chicago mobster and has evidence the gangster wants back. Enlisting the aid of a jealous ex-flame (Rosalind Cash) and a karate master from the hood (Jim Kelly, in his screen debut), Frankie sets out to track down the mob boss who framed him and avenge Melinda's death.

Available on DVD and streaming services. https://www.amazon.com/Melinda-Calvin-Lockhart/dp/B01C884XVI

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lboogie1906 · 1 year

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Lonne Elder III (December 26, 1927 – June 11, 1996) was an actor, playwright, and screenwriter. He was one of the leading African American figures who informed the New York theater world with social and political consciousness. He wrote scripts for television and film. His most well-known play, Ceremonies in Dark Old Men won him a Drama Desk Award for Most Promising Playwright and was nominated for the Pulitzer Prize. He and Suzanne de Passe became the first African Americans to be nominated for the Academy Award in writing. He received the Best Adapted Screenplay nomination for the movie Sounder. Returning from the army, he immersed himself in the Harlem literary scene, receiving direct encouragement from poets Robert Hayden and Langston Hughes, among others, and began honing his talent as a writer. Working as a stage actor, he landed the role of Bobo in the original Broadway run of Lorraine Hansberry's A Raisin in the Sun. Inspired by Hansberry and his friendship with dramatist Douglas Turner Ward, he set his sights on becoming a playwright. Sharing an apartment with Ward helped inspire him to write a play titled A Hysterical Turtle in a Rabbit Race. It was an early expression of his chosen theme of the African American family in a hostile America. He continued to make a living as a gambler and combined acting with odd jobs. He appeared in a production of Ward's play Day of Absence in 1965. Ceremonies in Dark Old Men was given a reading at Wagner College on New York's Staten Island. The reading of the play propelled him to a fellowship in screenwriting at the Yale University School of Drama and won him several other financial awards. His one-act play Charades on East Fourth Street, which depicted a clash between community members and police, was performed at the Expo ’67 World’s Fair in Montreal, Canada. He served as director of the new Negro Ensemble Company’s playwrights division and when that company launched its first season at New York's St. Mark's Playhouse, Ceremonies in Dark Old Men was selected for production. #africanhistory365 #africanexcellence https://www.instagram.com/p/Cmokj0Src4O/?igshid=NGJjMDIxMWI=

#africanhistory365 #africanexcellence

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garadinervi · 2 years

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Claudia McNeil in ‘A Raisin in the Sun’, A Play by Lorraine Hansberry, w/ Elwood Smith, Frances Foster, Bobby D. Hooks, Douglas Turner, Lonne Elder III, Howland Chamberlain, Diana Sands, Edward Hall, Tyrone Cooper, Robert Jackson, Directed by Lloyd Richards, Wilbur Theatre, Boston, MA, 1959 [Artcraft Lithograph & Printing Co, New York, NY]

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theoscarsproject · 4 years

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Sounder (1972). The oldest son of a loving and strong family of black sharecroppers comes of age in the Depression-era South after his father is imprisoned for stealing food.

This is such an evocative film. It’s emotionally rounded, grounded in strong performances, a compelling script and some wonderful cinematography. It works as a civil rights film, a period drama, and most deeply as a father-son story. It’s really strong, and a perfect one for father’s day! 8/10.

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blackkudos · 4 years

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Robert Hooks

Robert Hooks (born Bobby Dean Hooks, April 18, 1937) is an American actor, producer, and activist. He is most recognizable to the public for his more than 100 roles in films, television, and stage. Most famously, Hooks, along with Douglas Turner Ward and Gerald S. Krone, founded The Negro Ensemble Company (NEC). The NEC is credited with the launch of the careers of many major black artists of all disciplines, while creating a body of performance literature over the last thirty years, providing the backbone of African-American theatrical classics. Additionally, Hooks is the sole founder of two significant black theatre companies: the D.C. Black Repertory Company, and New York's Group Theatre Workshop.

Biography

Early life

The youngest of five children, Hooks was born in Foggy Bottom, Washington, D.C. to Mae Bertha (née Ward), a seamstress, and Edward Hooks who had moved from Rocky Mount, North Carolina with their four other children, Bernice, Caroleigh, Charles Edward "Charlie", and James Walter "Jimmy". Named Bobby Dean Hooks at birth, Robert was their first child born "up-north" and the first to be born in a hospital. His father, Edward, died in a work accident on the railroad in 1939.

Hooks attended Stevens Elementary School. In 1945, at the insistence of his sister Bernice who was doing community arts outreach for youngsters at Francis Junior High School, he performed the lead in his first play, The Pirates of Penzance, at the age of nine. From the ages of 6 to 12, Bobby Dean journeyed with his siblings to Lucama, North Carolina to work the tobacco fields for his uncle's sharecropping farm as a way to help earn money for the coming school year in D.C.

In 1954, just as Brown vs. Board of Education was being implemented in the north, he moved to Philadelphia to be with his mother, her second husband, and his half-sister, Safia Abdullah (née Sharon Dickerson). Hooks experienced his first integrated school experience at West Philadelphia High School. Hooks soon joined the drama club and began acting in plays by William Shakespeare and Samuel Beckett. He was graduated in 1956, passing on a scholarship to Temple University in order to pursue a career as a stage actor at the Bessie V. Hicks School of Theatre (alongside Charles Dierkop and Bruce Dern, with whom he second-acted plays doing their pre-Broadway tryouts in Philadelphia) while working at Browning King, a men's tailor shop at Fourteenth and Chestnut streets.

Career

Having trained at the Bessie V. Smith School of Theatre in Philadelphia, and after seeing A Raisin in the Sun in its Philadelphia tryout in February 1959, Hooks moved to New York to pursue acting. In April 1960, as Bobby Dean Hooks, he made his Broadway debut in A Raisin in the Sun replacing Louis Gossett, Jr. who would be doing the film version. He then continued to do its national tour. He then stepped into the Broadway production of A Taste of Honey, replacing Billy Dee Williams; then repeating the same national tour trajectory as he had done for "Raisin..." the previous year. In early 1962 he next appeared as the lead in Jean Genet's The Blacks, replacing James Earl Jones as the male lead, leaving briefly that same year to appear on Broadway again in Tiger, Tiger, Burning Bright before stepping back into the lead role in The Blacks in 1963. He then returned to Broadway, first in Ballad for Bimshire and then in the short-lived 1964 David Merrick revival of The Milk Train Doesn't Stop Here Any More (as a character created by Tennessee Williams for this revival) and starring Tallulah Bankhead and Tab Hunter in his only stage performance. Immediately thereafter, in March 24, 1964 he originated the role of Clay in Amiri Baraka's Dutchman. With this play, on the advice of Roscoe Lee Brown, Hooks became known as, Robert Hooks. He also originated roles on the New York stage in Where's Daddy? for which he won the Theatre World Award and he was nominated for Best Male Lead in a Musical for Hallelujah Baby while he was simultaneously starring in David Susskind's N.Y.P.D.—the first African American lead on a television drama.

In 1968 Hooks was the host of the new public affairs television program, Like It Is.

Hooks was nominated for a Tony for his lead role in the musical, Hallelujah, Baby!, has received both the Pioneer Award and the NAACP Image Award for Lifetime Achievement, and has been inducted into the Black Filmmakers Hall of Fame. He also won an Emmy for his PBS special, Voices of Our People.

Significant roles for which Hooks is known include Reeve Scott in Hurry Sundown (1967), Mr. T. in the blaxploitation film Trouble Man (1972), grandpa Gene Donovan in the comedy Seventeen Again (2000), and Fleet Admiral Morrow in Star Trek III: The Search for Spock (1984). He also appeared on television in an episode of the NBC crime drama series The Eddie Capra Mysteries in 1978 and portrayed Doctor Walcott in the 1980s television series Dynasty.

Activism

Arts and Culture

In 1964, as a result of a speaking engagement at the Chelsea Civil Rights Committee (then connected to the Hudson Guild Settlement House) he founded The Group Theatre Workshop (GTW), a tuition-free environment for disadvantaged urban teens who expressed a desire to explore acting. Among the instructors were Barbara Ann Teer, Frances Foster, Hal DeWindt, Lonne Elder III, and Ronnie Mack. Alumni include Antonio Fargas, Hattie Winston, and Daphne Maxwell Reid.

The Group Theatre Workshop was folded into the tuition-free training arm of the The Negro Ensemble Company (NEC) founded in 1967 with Douglas Turner Ward and Gerald S. Krone with a $1.3 million grant from the Ford Foundation under the auspices of W. McNeil Lowry.

From 1969-1972, Hooks served as an original board member of Black Academy of Arts and Letters (BAAL) (located in New York) alongside C. Eric Lincoln, President; John O. Killens, Alvin F. Poussaint, and Charles White. Chartered by the State of New York, BAAL's mission was to bring together Black artists and scholars from around the world. Additional members included: Julian Adderley, Alvin Ailey, Margaret Walker, James Baldwin, Imamu Baraka, Romare Bearden, Harry Belafonte, Lerone Bennett, Arna Bontemps, Ossie Davis, Ruby Dee Davis, St. Clair Drake, Ernest Dunbar, Katherine Dunham, Lonne Elder III, Duke Ellington, Alex Haley, Ruth Inge Hardison, Vertis Hayes, Chester Himes, Lena Horne, Jacob Lawrence, Elma Lewis, Henry Lewis, Paule Marshall, Donald McKayle, Arthur Mitchell, Frederick O’Neal, Gordon Parks, Sidney Poitier, Benjamin Quarles, Lloyd Richards, Lucille D. Roberts, and Nina Simone.

In response to the violence in his home town of Washington, D.C. in the wake of the Rev. Dr. Martin Luther King, Jr.'s assassination, and aided by a small grant from the Eugene and Agnes E. Meyer Foundation, Hooks took a leave of absence from the Negro Ensemble Company to create The D.C. Black Repertory Company (DCBRC, 1970-1981). As Founder and Executive Director, the DCBRC was intended as a further exploration of the ability of the arts to create healing. The a capella group Sweet Honey in the Rock was created and developed within its workshop process.

The Inner Voices (Lorton Prison arts training program, 1971) proved to be a result of the beneficial effect of the DCBRC in the D.C. area. In response to a direct plea from an inmate, Rhozier "Roach" Brown, who was serving a life sentence in Lorton, Hooks' D.C. Black Repertory Company structured the first prison-based arts program in the United States. While it is the norm now, it was then a revolutionary attempt at rehabilitation through the arts. Eventually The Inner Voices performed more than 500 times in other prisons, including a Christmas special entitled, "Holidays, Hollowdays." Due to Roach's work, President Gerald Ford commuted his sentence on Christmas Day, 1975.

His relocation to the West Coast redirected Hooks' approach to parity in the arts with his involvement with The Bay Area Multicultural Arts Initiative (1988) as a board member and grant facilitator-judge. Funded by monies from a unique coalition made up of the San Francisco Foundation (a community foundation); Grants for the Arts of the San Francisco Hotel Tax Fund, and The National Endowment for the Arts, the function of this organization was the funding of deserving local multicultural arts organizations.

In 1992, Hooks co-founded (with writer Lonne Elder III) Arts in Action. Located in South Central Los Angeles, this was a film and television training center established to guide individuals who aspired to careers in film production. It formulated strategies and training for securing entry-level jobs. Courses included: career development workshops; pre-production and production for film and television; creative problem solving in production management; directing for stage and screen—principles and practices; also the craft of assistant directors, script supervisor, technicians, wardrobe, make-up, etc.

The Negro Ensemble Company of Los Angeles (NEC-LA) (1994-1997) was created because so many New York members and original members had relocated to the west coast. Hooks, as founder and executive director enlisted alumni from his New York Negro Ensemble Company to serve as board members: Denise Nicholas, Denzel Washington, James Earl Jones, Laurence Fishburne, Richard Roundtree, Samuel L. Jackson. NEC-LA's goal was to be a new and innovative multi-ethnic cultural project that strived to achieve the community effectiveness and professional success of its parent organization.

Personal life

Hooks is the father of actor, television and film director Kevin Hooks. He married Lorrie Gay Marlow (actress, author, artist) on June 15, 2008. Previously, he was married to Yvonne Hickman and Rosie Lee Hooks.

Awards

1966 - Theatre World Award (1965–66 ) for "Where's Daddy?" (The Billy Rose Theatre)

1979 - American Black Achievement Award - Ebony Magazine

1982 - Emmy Award for Producing (1982) Voices of Our People: In Celebration of Black Poetry (KCET-TV/PBS)

1966 - Tony Nomination, Lead Role in a Musical for Hallelujah, Baby

1985 - Inducted into The Black Filmmakers Hall of Fame, recipient Oscar Micheaux Award (1985)

1986 - March 2nd declared Robert Hooks Day by the City of Los Angeles, Mayor Tom Bradley

1987 - Excellence in Advertising and Communications to Black Communities from CEBA (Excellence in Advertising and Communications to Black Communities)

2000 - Honorary Doctor of Humane Letters, Honoris Causa honorary degree, Bowie State University

2000 - May 25th declared Robert Hooks Day in Washington, D.C.

2005 - Beverly Hills/Hollywood Chapter NAACP Image Award for Lifetime Achievement

2005 - Beverly Hills/Hollywood Chapter NAACP Trailblazer Award to the Negro Ensemble Company

2005 - Trailblazer Award – City of Los Angeles

2006 - The Black Academy of Arts and Letters (TBAAL), Lifetime Achievement Award (Dallas)

2007 - The Black Theatre Alliance Awards / Lifetime Achievement Award

2015 - Living Legend Award (2015) National Black Theatre Festival

2018 - October 18th proclaimed Robert Hooks Day by Mayor Muriel Bowser, Washington, D.C.

2018 - Hooks is entered into The Congressional Record by the Hon. Eleanor Holmes Norton, September 4, 2018, Vol. 164

2018 - Visionary Founder and Creator Award - D.C. Black Repertory Company on its 47th anniversary

Acting Credits

Film

Sweet Love, Bitter (1967) .... Keel Robinson

Hurry Sundown (1967) .... Reeve Scott

Last of the Mobile Hot Shots (1970) .... Chicken

Carter's Army (1970) .... Lt. Edward Wallace

Trouble Man (1972) .... Mr. T

Aaron Loves Angela (1975) .... Beau

Airport '77 (1977) .... Eddie

Fast-Walking (1982) .... William Galliot

Star Trek III: The Search for Spock (1984) .... Admiral Morrow

Passenger 57 (1992) .... Dwight Henderson

Posse (1993) .... King David

Fled (1996) .... Lt. Clark

#04/18

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badgaymovies · 7 years

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Sounder

BBBBB (out of 5) A poor family of sharecroppers in early 1930s Louisiana are having such a difficult time getting by that dad Paul Winfield is compelled to steal food from a neighbour. Immediately arrested and sent to prison for a year, he leaves behind a wife (Cicely Tyson) and three children to take care of the year’s harvest, the eldest of his kids a thoughtful boy (Kevin Hooks) coming of age…

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michael-radi-the-glamorous-life · 4 years

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How To Listen

One of the most important skills we have as human beings is our ability to communicate, and to do so effectively.

However, one could easily argue that - societally speaking - we have not been communicating effectively with one another, or have only been doing so with a select group of people. The events of the past ten days seem like blatant proof of that.

A large part - if not the largest part - of effective communication and the subsequent forward momentum of progress is:

Active Listening.

We - and I’m speaking to the heavily White majority of my readership here - are being asked right now to Actively Listen to our Black peers, friends, family, colleagues, allies, acquaintances, and all Black voices across the country.

So how do we do this? What does this mean? Where to start?

Active Listening

The practice of Active Listening can be defined as:

Giving total concentration to what is being said, providing full attention and utilizing all senses.

Active Listening is not merely hearing the sounds, nor is it giving passive attention whilst waiting for the next moment. Likewise, it is not waiting for your turn to speak.

The purpose of Active Listening is to fully comprehend what is being said and to provide both empathy and understanding. It is not critical - where you would listen and then offer your own opinion/insight - and it is not with the intention of reply, except to show comprehension.

Active Listening should be:

Neutral and non-judgemental

Patient

Filled with cues that you are listening (particularly if in person)

Open to asking questions and to clarification

Inclusive of reflection back on what has been said

Here are some clarifications on what Active Listening should not include:

Wandering thoughts

Disrespect

Interruptions

Distraction

One-upping the speaker

Focus on small details

Self-centering the narrative

Passing over what was not comprehended

Active Listening should establish a sense of trust and - most importantly - it is about the Speaker, not the listener.

Like any skill, Active Listening takes practice, but it may be the most crucial skill we can possibly posses.

Not Our Time

White folx: This is not our time to speak.

Honestly, I hesitated even writing this post today. But ultimately, it seemed that if I could use this platform to help educate and provide information that is critical at this time, it would be better to speak up right now than do my own work quietly.

We have been talking and controlling the narrative in this country from the beginning, and that was not right. We were wrong. So we must do better.

Right now Black folx are speaking up - as they have been the whole time - and are finally being heard. So instead of trying to raise our own voice into that conversation, it is time for us to sit down and Listen.

Here are some important considerations before we dive in:

Is this education going to be quick? No.

Is it going to be easy? No.

Are we going to make mistakes? Yes, and then we own up to those mistakes and we fix them.

Will we encounter discomfort? YES. If you’re not uncomfortable throughout this process, you’re likely not trying hard enough to learn.

Will we have to unlearn habits, practices, and biases? Oh yes. Many many many.

Can we rely on Black folx to educate us? NO. This is up to US to learn. They tried teaching when we weren’t listening, so now WE must do the work.

Will we get a pat on the back for our work, time, and effort? No. I know you’re going to want one, but we don’t get one. Not when we’re 250 years late.

Do we have to post on social media? No. As long as you’re doing the work and having the conversations, social media is not necessary. Honestly - and I’m trying to do this myself - the conversation on our social media accounts should be about providing resources to other White folx and amplifying what is being said by Black voices.

Should I ask questions? Yes! Ask other White folx if you’re confused about something. Do some research. Find a friend or family member you can trust with a question you think is silly or embarrassing. It’s all part of the work.

And I’m sure there are plenty more questions to answer even beyond these, but let’s dive in.

Where To Start

There is an overwhelming amount of material to be consumed for our education.

I’ve been collecting a list of places to start, which I figured could be helpful to everyone. I’ve broken it down into categories, which I hope you will all find helpful.

If you have further suggestions, please place them in the comments!

Watch:

Netflix:

13th

American Son

Black Earth Rising

Brian Banks

Dear White People

Get On The Bus

The Kaliep Browder Story

LA 92

See You Yesterday

Strong Island

When They See Us

HBO:

King In The Wilderness

Notes From The Field

We Are The Giant

Hulu:

3 1/2 Minutes. 10 Bullets

Blindspotting (free with Cinemax)

The Hate U Give (free with Cinemax)

If Beale Street Could Talk

Amazon Prime:

Blindspotting

Just Mercy (rent free in June)

Quest

Westwind: Djalu’s Legacy

CBC:

The Skin We’re In

SBS On Demand:

First Australians

Rent:

12 Years A Slave (possibly still on Netflix)

BlacKkKlansmen

Black Britain On Film

The Black Panthers: Vanguard of the Revolution

Black Power Mixtape: 1967-1975

Blood & Water (series)

Clemency

Detroit

Do Not Resist

Do the Right Thing

Fruitvale Station (possibly still on Netflix)

The House I Live In

I Am Not Your Negro (possibly still on Netflix)

Malcolm X

Maya Angelou: And I Still Rise

More Than A Month

Putaparri and the Rainmakers

Queen and Slim

Queen Sono

Queen Sugar

Roots

Selma

Slavery By Another Name

The Tall Man

Online:

Black Lives Matter activist videos: blacklivesmatter.com/activist-shorts/

Read:

Books:

So You Want To Talk About Race by Ijeoma Oluo

Algorithms of Oppression by Safiya Noble

Blood In My Eye by George L. Jackson

If They Come In The Morning… by Angela Y. Davis

The Great Unlearn by Rachel Cargle

Me And White Supremacy by Layla F. Saad

White Fragility: Why It’s So Hard for White People to Talk About Racism by Robin DiAngelo

This Book Is Anti-Racist by Tiffany Jewell

How To Be An Antiracist by Ibram X. Kendi

Stamped: Racism, Antiracism and You by Ibram X. Kendi and Jason Reynolds

Unpacking The Invisible Knapsack (essay) by Peggy McIntosh

Black Feminist Thought by Patricia Hill Collins

Eloquent Rage: A Black Feminist Discovers Her Superpower by Dr. Brittney Cooper

Heavy: An American Memoir by Kiese Laymon

I Know Why The Caged Bird Sings by Maya Angelou

I’m Still Here: Black Dignity In A World Made For Whiteness by Austin Channing Brown

Just Mercy by Bryan Stevenson

Redefining Realness by Janet Mock

Sister Outsider by Audre Lorde

The Bluest Eye by Toni Morrison

The Fire Next Time by James Baldwin

The New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle Alexander

The Next American Revolution: Sustainable Activism for the Twenty-First Century by Grace Lee Boggs

The Warmth Of Other Suns by Isabel Wilkerson

Their Eyes Were Watching God by Zora Neale Hurston

This Bridge Called My Back: Writings by Radical Women of Color by Cherrie Moraga

Raising Our Hands by Jenna Arnold

When Affirmative Action Was White: An Untold History of Racial Inequality in Twentieth-Century America by Ira Katznelson

Why I’m No Longer Talking To White People About Race by Reni Eddo-Lodge

Queenie by Candice Carty-Williams

Small Great Things by Jodi Picoult

Between the World and Me by Ta-Nehisi Coates

The Color Purple by Alice Walker

Playwrights (and a First Play Suggestion)

Dominique Morissea - Pipeline

Lynn Nottage - Sweat

Anna Deavere Smith - Notes From The Field

Dael Orlandersmith - Yellowman

August Wilson - Fences

Katori Hall - The Mountaintop

Jocelyn Bioh - School Girls; or, The African Mean Girls Play

Alice Childress - Wine In The Wilderness

Jeremy O. Harris - Slave Play

Lydia Diamond - Stick Fly

Antoinette Nwandu - Pass Over

Charles Fuller - A Soldier’s Play

Aleshea Harris - What to Send Up When it Goes Down

Peal Cleage - The Nacirema Society Requests the Honor of Your Presence at a Celebration of Their First One Hundred Years

Danai Guria - Eclipsed

Adrienne Kennedy - Funnyhouse of a Negro

Langston Hughes - Simply Heaven

Lorraine Hansberry - A Raisin in the Sun

James Baldwin - Blues for Mister Charlie

Charles Gordone - No Place to be Somebody

Tarell Alvin McCraney - Choir Boy

Colman Domingo - Dot

Amiri Baraka (LeRoi Jones) - Dutchman and the Slave

Lonne Elder III - Ceremonies in Dark Old Men

Douglas Turner Ward - Day of Absence & Happy Ending

Kia Corthron - Breath, Boom

Ntozake Shange - For Colored Girls who have Considered Suicide When the Rain-bow is Enuf

Mfonsio Udofia - Her Portmanteau

Suzan-Lori Parks - Topdog/Underdog

Samm-Art Williams - Home

George C. Wolfe - Spunk & The Colored Museum

Listen:

Podcasts:

1619

About Race

#BLACKLIVESMATTER

Code Switch (NPR)

The Combahee River Collective Statement

Diversity Gap

How to Survive the End of the World

The Intelligence

Intersectionality Matters

Momentum: A Race Forward Podcast

Pod For The Cause

Pod Save the People

Seeing White

Speaking of Racism

The Stoop

TED Radio Hour: Confronting Racism

Uncomfortable Conversations

We Live Here

What Matters

You’re Pretty For A…

Audiobook:

How To Be An Antiracist

Beginning

Is that list comprehensive? Nope.

This is just the start.

But to make progress, we all must begin somewhere. I hope this list helps you find a place to begin and that you will continue to do the work. In the meantime, I’m here if you have questions.

Be well, friends. Cheers.

#glamorous life blog #glamorous life #Black Lives Matter #education #listen #active listening #learn #books #playwright #play #Black authors #watch #read #podcast

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