Rodney Harrison: First African American NYPD Chief of Detectives

The New York City Police Department announced the appointment of Chief of Detectives Rodney Harrison. The appointment makes Harrison the first black person to hold the role since the force's founding almost 200 years ago.

Chief Rodney Harrison currently serves as Chief of Patrol, playing a central role in the creation and roll-out of Neighborhood Policing to every precinct across the City. He will now serve as Chief of Detectives, overseeing the prevention, detection and investigation of crime, bringing a decade of experience supervising investigations and crime fighting prowess to build the strongest possible cases against perpetrators of criminal activity.

"Serving as Chief of Patrol has been a tremendous privilege. Through Neighborhood Policing, we have transformed how the NYPD works with community members, grounded in building strong relationships of mutual respect, toward our shared mission of safety," Harrison said.

Chief Rodney Harrison currently serves as Chief of the Patrol Services Bureau where he has overseen the bureau's Neighborhood Policing implementation. Chief Harrison began his career with the NYPD as a police cadet in June 1991. A year later, he became a police officer and patrolled the 114th Precinct in Astoria, Queens. In 1994, he was assigned to the Narcotics division and then promoted to Detective in 1995. Harrison later worked in various commands in Patrol Borough Brooklyn South and Patrol Borough Brooklyn North—including the 71 Detective Squad, 73 Detective Squad and 73 Precinct—and Patrol Borough Bronx. He served as executive officer of 47 Precinct. He has also served as commanding officer of the 28 and 32 Precincts. He was promoted to Deputy Chief while serving in the Internal Affairs Bureau and then held assignments in Patrol Borough Staten Island and Patrol Borough Brooklyn North. He then became the Chief of Detectives of Brooklyn North overseeing all investigations, before being appointed Chief of Patrol.

Congressional Black Caucus members introduce legislation banning natural hair discrimination

Washington, D.C.- Today, Congressman Cedric Richmond (LA-02) along with Congresswomen Barbara Lee (CA-13), Marcia Fudge (OH-11), Ayanna Pressley (MA-07), and Senator Cory Booker (D-N.J.) issued the following statement after introducing the Creating a Respectful and Open World for Natural Hair Act (CROWN Act):

“For far too long, Black Americans have faced senseless forms of discrimination merely because of how they choose to wear their hair. As states begin to tackle this issue, it is long overdue for Congress to act,” said Rep. Richmond. “From Louisiana to New Jersey, textured hair should never serve as a professional or educational impediment nor should it ever lead to a reprimand of consequence. In America, we regularly subscribe to the notion that our diversity is our strength. Now is the time to walk the walk, not just talk to the talk. That is why I partnered with Representatives Lee, Fudge, Pressley, Senator Booker, NAACP Legal Defense and Educational Fund, Crown Coalition advocate Adjoa B. Asamoah, and Civil Rights activist, lawyer, and #FreeTheHair Movement founder Wendy Greene to introduce this urgent legislation. Together, with this bill, we can ensure this form of discrimination no longer goes unchecked.”

“Every day, Black women and men are forced to consider if their natural hair is “appropriate” or “professional” by Eurocentric standards,” said Congresswoman Barbara Lee (CA-13). “With the introduction of the CROWN Act of 2019, we are making it clear that discrimination against Black women and men who wear their natural hairstyles is wrong and must be prohibited. I began this fight in 2014 when I stood up to the U.S. military’s policy that prohibited servicemembers from wearing natural hair, and I will continue until every woman and man is protected. With the CROWN Act, we can turn the page on forcing cultural norms that penalize Black people and other people of color from wearing their natural hair. I thank Congressman Richmond for his leadership in introducing this important bill.”

“It is disheartening that, in 2019, hair discrimination creates additional barriers for people of color in education and places of employment,” said Congresswoman Marcia L. Fudge. “Traditional hairstyles worn by African Americans are often necessary to meet our unique needs, and are a representation of our culture and ethnicity. To require anyone to change their natural appearance to acquire educational resources or a job is undeniably an infringement on their civil rights. I’m proud to be a cosponsor of the House companion of the CROWN Act, which protects against discrimination based on hair in federally funded institutions and in the workplace.”

“For too long, Black women and girls have been told that their hair is too curly, too unprofessional, too distracting” said Congresswoman Ayanna Pressley. “As a Congresswoman, I choose to wear my hair in twists because I want to intentionally create space for all of us to show up in the world as our authentic selves – whether it’s in the classroom, in the workplace or in the halls of Congress. I am proud to support the CROWN Act, which is a bold step towards ensuring that people can stand in their truth while removing the narrative that Black people should show up as anything other than who they are.”

“Discrimination against Black hair is discrimination against Black people,” Senator Booker said. “Implicit and explicit biases against natural hair are deeply ingrained in workplace norms and society at large. This is a violation of our civil rights, and it happens every day for black people across the country. You need to look no further than Gabrielle Union, who was reportedly fired because her hair was ‘too black’ — a toxic dog-whistle African Americans have had to endure for far too long. No one should be harassed, punished, or fired for the beautiful hairstyles that are true to themselves and their cultural heritage.”

11-year-old ballerina becomes first black lead in NYC Ballet's 'The Nutcracker'

Four years ago, Misty Copeland became the first African American woman to be promoted to principal dancer in the American Ballet Theatre’s 75-year history.

Now, an 11-year-old black girl is also breaking barriers as the star of the New York City Ballet’s holiday production of George Balanchine’s "The Nutcracker."

In a story first reported by The New York Times, Charlotte Nebres, a student at the School of American Ballet, danced her way into ballet history as New York City Ballet’s first black Marie, the young heroine of a show that dates back to 1954.

"It’s pretty amazing to be not only representing S.A.B., but also representing all of our cultures," Nebres told "The New York Times." "There might be a little boy or girl in the audience seeing that and saying, 'Hey, I can do that too.'"

Mom Danielle Nebres was a dancer growing up, too, and told the Times she still remembers the shock that came with hearing her daughter had won the part of Marie following her audition.

“With that poker face of hers, she said, ‘Well, I’m Marie,’” Danielle said. “And I just thought, ‘Oh my goodness — they really did it.’ I couldn’t believe it.”

Danielle added that when she told Charlotte she would be the very first black star, her daughter retorted, “Wow. That seems a little late.”

For Charlotte, the joy of dancing outweighs anything else that might be bogging down her mind.

“To me, it just feels like when I dance I feel free and I feel empowered. I feel like I can do anything when I dance,” she told the Times. “It makes me happy, and I’m going to do what makes me happy. You don’t need to think about anything else.”

[SOURCE: YAHOO]

Kamala Harris statement to her supporters on ending her presidential campaign

Kamala Harris released the following statement to her supporters via medium.com after suspending her presidential campaign.

Eleven months ago at the launch of our campaign in Oakland I told you all: “I am not perfect. But I will always speak with decency and moral clarity and treat all people with dignity and respect. I will lead with integrity. I will speak the truth.”

And that’s what I have tried to do every day of this campaign. So here’s the truth today.

I’ve taken stock and looked at this from every angle, and over the last few days have come to one of the hardest decisions of my life.

My campaign for president simply doesn’t have the financial resources we need to continue.

I’m not a billionaire. I can’t fund my own campaign. And as the campaign has gone on, it’s become harder and harder to raise the money we need to compete.

In good faith, I can’t tell you, my supporters and volunteers, that I have a path forward if I don’t believe I do.

So, to you my supporters, it is with deep regret — but also with deep gratitude — that I am suspending my campaign today.

But I want to be clear with you: I am still very much in this fight.

And I will keep fighting every day for what this campaign has been about. Justice for The People. All the people.

Our campaign has been about fighting for people whose voices that have not been heard or too often ignored.

We will keep up that fight.

Let’s remember: we were the first to put the injustice of inadequate teacher pay on the national agenda.

We will keep up that fight.

We were the first to demand justice for our children, declaring we would take bold executive actions to stop gun violence.

We will keep up that fight.

We were the first to demand justice for women with a plan to block unconstitutional state abortion laws.

We will keep up that fight.

And our campaign uniquely spoke to the experiences of Black women and people of color — and their importance to the success and future of this party. Our campaign demanded no one should be taken for granted by any political party.

We will keep up that fight because no one should be made to fight alone.

And I believe our campaign showed every child in America — regardless of their color or gender — that there are no limits to who can lead and hold positions of power in our country.

In that way — this campaign has been so much bigger than me.

I am extremely grateful to the hundreds of staff who moved and uprooted their lives and sacrificed time away from their families. I know our fight has been personal for each of them.

Of course, I could not have done this without my husband Doug and my entire family and friends who gave up so much to embark on this journey with me and have supported me every step of the way.

And I am grateful to the thousands of volunteers and contributors who chipped in, who knocked on doors, who made calls and who put their faith and trust in me. It has been the honor of my life to be your candidate.

And I want to be clear: although I am no longer running for President, I will do everything in my power to defeat Donald Trump and fight for the future of our country and the best of who we are.

I know you will too. So let’s do that together.

Let’s keep fighting for the America we believe in, an America free of injustice. An America that we know we can be unburdened by what has been.

Thank you.

— Kamala

National Museum of African American History and Culture’s Alvin Ailey Photography Collection Is Now Available to the Public

On the 30th anniversary of Alvin Ailey’s death (Dec. 1), the Smithsonian’s National Museum of African American History and Culture is making available the collection of more than 10,000 photographs chronicling the Alvin Ailey American Dance Theater from 1961 to 1994. The Jack Mitchell Photography of the Alvin Ailey American Dance Theater Collection includes 8,288 black-and-white negatives, 2,106 color slides and transparencies, and 339 black-and-white prints depicting private photo sessions, repertory by Alvin Ailey and a wide range of choreographers and iconic solo performers.

Jack Mitchell’s collection documents the dance company’s evolution while capturing the true idiosyncrasies and physicality of movement through still images. The photography showcases the innovative performances and groundbreaking artistry of Ailey, who shined a spotlight on the contributions and experiences of the African American heritage that inspired the racially diverse performances he presented that forever changed American dance and culture.

Acquired in 2013, the entire digitized photography collection has been recently made available to the public online via the Smithsonian’s Online Virtual Archives. The collection is jointly owned by the National Museum of African American History and Culture and Alvin Ailey Dance Foundation.

“To have one photographer as talented as Jack Mitchell capture the Alvin Ailey American Dance Theater’s history allows us to really witness the groundbreaking and historic nature of Alvin Ailey’s dance style and his vision for a dance company,” said Spencer Crew, interim director of the National Museum of African American History and Culture. “It’s particularly difficult to capture the essence of performing arts in photography, yet this collection showcases the ephemeral nature of the performances that made the Alvin Ailey American Dance Theater so special to so many audiences around the world.”

Mitchell’s photography vividly illustrates the evolution of Ailey’s principal dancers, notable performances and Ailey himself. The collection contains photographs of over 80 choreographed performances by Ailey, including his debut piece “Blues Suite” along with “The River” and “Revelations,” one of Ailey’s most popular and critically acclaimed pieces that tells the African American story from slavery to freedom and remains one the most beloved works of modern dance, acclaimed as a must-see and applauded by audiences around the world. The collection also features portraits of Judith Jamison, who was Ailey’s muse, most notably for the tour-de-force solo “Cry,” and who he entrusted to become artistic director before his death. Alvin Ailey American Dance Theater’s other earliest and most revered dancers are featured, including Dudley Williams, Sylvia Waters, Masazumi Chaya and Donna Wood.

“Photographer Jack Mitchell was one of the great chroniclers of the performing arts, including his iconic work with Alvin Ailey American Dance Theater for over three decades,” said artistic director emerita Judith Jamison. “Alvin Ailey was a pioneer in opening doors for performers of all backgrounds, especially black people, to share their stories in performances that inspired, enlightened and brought together all of us. He was a genius of a choreographer who celebrated African American culture and the modern dance tradition in stirring masterpieces like ‘Cry,’ ‘Blues Suite’ and ‘Revelations.’ I am thrilled that the Smithsonian’s National Museum of African American History and Culture has made this treasured collection available so the public can further experience the artistry and the history of the company and our founder Alvin Ailey.”

Jack Mitchell and Alvin Ailey

Mitchell (1925–2013) was an acclaimed photographer who began chronicling the work of the Alvin Ailey American Dance Theater in 1961. Ailey (1931–1989), one of the most influential choreographers of modern dance, dedicated himself and his dance company to creating ballets that not only accelerated the careers of young African American dancers, but also captured the attention of national and international audiences. Through Mitchell’s collaboration with Ailey, and later with Jamison, they were able to produce a unique body of lasting art, fusing the meaning and movements of dance and the techniques of photography.

Following its 60th anniversary, Alvin Ailey American Dance Theater’s new season of performances begins at New York City Center Dec. 4 and runs through Jan. 5, 2020, with subsequent performances at the Kennedy Center in Washington, D.C., Feb. 4 and a national tour continuing through May.

About the National Museum of African American History and Culture

Since opening Sept. 24, 2016, the National Museum of African American History and Culture has welcomed over 6 million visitors. Occupying a prominent location next to the Washington Monument on the National Mall in Washington, D.C., the nearly 400,000-square-foot museum is the nation’s largest and most comprehensive cultural destination devoted exclusively to exploring, documenting and showcasing the African American story and its impact on American and world history. For more information about the museum, visit nmaahc.si.edu, follow @NMAAHC on Twitter, Facebook, Instagram and Snapchat—or call Smithsonian information at (202) 633-1000.

About Alvin Ailey American Dance Theater

Alvin Ailey American Dance Theater, recognized by U.S. Congressional resolution as a vital American “Cultural Ambassador to the World,” grew from a now‐fabled March 1958 performance in New York that changed forever the perception of American dance. Founded by Alvin Ailey, recent posthumous recipient of the Presidential Medal of Freedom—the nation’s highest civilian honor—and guided by Judith Jamison beginning in 1989, the company is now led by Robert Battle, whom Jamison chose to succeed her July 1, 2011. Alvin Ailey American Dance Theater has performed for an estimated 25 million people in 71 countries on six continents—as well as millions more through television broadcasts, film screenings and online platforms—promoting the uniqueness of the African American cultural experience and the preservation and enrichment of the American modern dance tradition. In addition to being the Principal Dance Company of New York City Center, where its performances have become a year‐end tradition, the Ailey company performs annually at Lincoln Center for the Performing Arts, the John F. Kennedy Center for the Performing Arts in Washington, D.C., the Auditorium Theatre in Chicago, the Adrienne Arsht Center for the Performing Arts of Miami‐Dade County in Miami, The Fox Theatre in Atlanta, Zellerbach Hall in Berkeley, California, and at the New Jersey Performing Arts Center in Newark where it is the Principal Resident Affiliate, and appears frequently in other major theaters throughout the United States and the world during extensive yearly tours. The Ailey organization also includes Ailey II (1974), a second performing company of emerging young dancers and innovative choreographers; The Ailey School (1969), one of the most extensive dance training programs in the world; Ailey Arts in Education & Community Programs, which bring dance into the classrooms, communities and lives of people of all ages; and Ailey Extension (2005), a program offering dance and fitness classes to the general public, which began with the opening of Ailey’s permanent home—the largest building dedicated to dance in New York City, the dance capital of the world—named The Joan Weill Center for Dance, at 55th Street at Ninth Avenue in New York City. For more information, visit www.alvinailey.org.

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