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Nichelle Nichols Space Camp for Teen Girls to Open in 2026, Honoring Late 'Star Trek' Icon's Legacy (Exclusive)

Nichelle Nichols Space Camp for Teen Girls to Open in 2026, Honoring Late 'Star Trek' Icon's Legacy (Exclusive)

Yahoo27-06-2025
A new space camp for teen girls is set to open in January, named for the late Star Trek actress Nichelle Nichols
The camp, a product of the actress's namesake foundation, aims to bring science and technology education to a new generation
Other stars from the Star Trek universe are on board with the project, singing its praises in an exclusive chat with PEOPLEStar Trek's Nichelle Nichols broke barriers in her time on Earth, and three years after her death, she's continuing to open doors for women and girls.
In January, the Nichelle Nichols Foundation will launch the Nichelle Nichols Space Camp, a weekend-long experience for female teens 14 to 18 at the U.S. Space and Rocket Center in Huntsville, Ala. According to the website, "Students will work as a team and confront mission scenarios that require dynamic problem solving and critical thinking — 21st century learning skills required in the workplace."
For Nichols' former Star Trek costar, William Koenig, it's the perfect fit.
"It's a positive project to be involved in," the 88-year-old tells PEOPLE exclusively. "Creating a career which is so exciting and so full of promise is great."
Star Trek: Prodigy's Bonnie Gordon, 39, will serve as a mentor at the camp, a job she calls a "no-brainer" to take.
"Not only am I a huge fan of space exploration and science, I'm just a big fan of mentoring young girls and children in science," she tells PEOPLE. "I feel like there's so much here on Earth that we have yet to explore and so much that NASA and space programs have accomplished in space, advancing technologies. There's just so much we can learn where everything's connected."
Plus, she adds, "Pushing these young women to be whatever they want to be, pushing the boundaries of not just space, but science and their own personal discoveries, is just a dream come true for me."
Gordon crossed paths with Nichols in their shared time in the Star Trek universe at fan conventions and events.
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"I'm very lucky to have met her," she shares. "You could see the joy she felt when meeting fans, especially the women she'd inspired."
Koenig feels the same.
"She was extremely warm-hearted," he says. "We had a lot of laughs together. She was the first person who came over to me from the series and introduced herself; I remember that and I thought it was very sweet. We got along quite well over the years."
Nichols — who died in July of 2022 at 89 years old — enjoyed decades in the spotlight thanks to her screen work, her music career and her activism to help more women succeed in the field of astronomy.
Her breakout role came when Gene Roddenberry cast the actress as Lt. Nyota Uhura on the original Star Trek series. When the show first aired in 1966, Nichols was one of the first Black women to play a major role on primetime television.
Following the end of the science-fiction series, Nichols worked to recruit diverse astronauts to NASA, including women and people of color. Among those who were recruited as a result of the program was Sally Ride, the first female American astronaut.
Not long after her death, her ashes were sent into space via a Celestial Memorial Spaceflight.
"I don't think people realize how groundbreaking she was, not just in entertainment, but in science, because so many little girls who watched Star Trek growing up saw that they could have a future in science," Gordon says. "There's so much that she's left behind. She was a big believer in the philosophy of infinite diversity and infinite combinations, which is basically the Vulcan philosophy."
While she's excited for the actual content of camp — simulations, moon walks and more — Gordon is thrilled "to be part of something that moves life forward," she says.
"There's so much happening right now where people are trying to cut and constrain when it comes to science, where people who are different or have different values or views are being constrained," she says. "I feel like now is the time to break those boxes open and work together. We can find common ground on so many different levels if we communicate with others and not let hate or anger blind us."
The Nichelle Nichols Foundation does just that, she adds. And she hopes to see the camp grow and thrive for years to come.
"I know the goal is to make this program bigger and better," she adds. "This is just the beginning. And if it continues to grow, that just means it's going to give even more opportunities to young women in the future."
Registration for the Nichelle Nichols Space Camp is now open.
Read the original article on People
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Jeff Buckley's Ex on the 'Heartbreaking' Pressure the Rock Icon Was Under Before His Death at 30 (Exclusive)
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Jeff Buckley's Ex on the 'Heartbreaking' Pressure the Rock Icon Was Under Before His Death at 30 (Exclusive)

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Halle Berry's ex David Justice reveals stunning reason for ending their marriage

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Tucker Nichols reinvents the art book. But first, you have to figure out how to open it
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time19 hours ago

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Tucker Nichols reinvents the art book. But first, you have to figure out how to open it

Opening Tucker Nichols' book feels like an IQ test. 'Mostly Everything: The Art of Tucker Nichols' has two covers that fold out in opposite directions, plus the book has a second spine, which makes it all the more baffling. It's an experience akin to a Japanese puzzle box — or the first time you tried to find the door handle on a Tesla. 'I still can't open it right, and I've really opened a lot of them at this point,' Nichols, who worked with McSweeney's art director Sunra Thompson on the design, admitted in a recent conversation with the Chronicle. 'When Sunra showed me one of the dummies he made, I said, 'The first thing I feel is confusion.'' It's a wonderfully destabilizing prelude to what's to come. Nichols, 55, is a longtime Bay Area artist whose work spans drawing, painting, sculpture, public art, editorial illustrations and children's books, among other media. His work often appears deceptively simple in its fascination with everyday objects and use of text, but there's always a wit that inevitably turns them on their heads. Nichols, who lives in San Rafael, has been published and exhibited internationally. Locally, his work has been shown at the San Francisco Museum of Modern Art, the Contemporary Jewish Museum and the Asian Art Museum of San Francisco, among other Bay Area institutions. 'This is very much born of a McSweeney's mindset,' Nichols said in reference to the San Francisco publisher. 'They don't make art books, so there isn't some way that they think art books should be. We had an agreement right from the start there that we didn't want something that was talking about how important anything was.' Nichols' companion exhibition, 'Mostly Everything,' is on view at Gallery 16 through Aug. 29. This interview has been edited for length and clarity. Q: Did you set out to create a book that subverts the art book genre? Q: How did you come up with the final cover concept? A: When Sunra got the dummy made, it opened the other way, and that was just really too confusing. You'd open the first cover the way you'd normally open the book, but then you'd be reading from the back. It came from the conversation that we had about: What if the book feels more like an object? What if it's more of a thing? There's no words in this, so what if you're really trying to force people into having a physical experience? (At McSweeney's) there seems to be an unwritten law that every project should be doing something that hasn't been done before. The hunger for that makes it worth it to go through all the headaches of trying to figure out how to print a double cover. Q: How did you decide to organize the book? A: I really wanted this to not be my book of my work. I knew Sunra and his work, and really wanted it to be his take as an outsider to all of this stuff that I've been making for so long that doesn't really belong together, and have him try to solve that problem. This book doesn't really make sense on the surface, and that's really what started the whole process of what form the book was. Maybe it should have categories? Maybe those categories shouldn't quite work? Maybe part of it is the impossibility of trying to make sense of what one person has been making for 25 years? Q: Even though this is a book that doesn't use text in the conventional way, you have a very text heavy practice. A: Text is this weird thing, it has this promise of helping us not be confused anymore. It's mostly telling us what we don't know about what we would need to know in that particular context, and my text typically plays with that without actually delivering on the promise. You're left with maybe more questions than you had in the beginning or a slightly different view that didn't quite tell you what you were hoping for. Q: What was it like to look back at your work in a different way for the Gallery 16 show? A: It's really the first time that I felt prompted or even comfortable with the idea of showing things from really different time periods. I'm very happy with how it came out. It makes me always want to be incorporating older work in the shows from now on. I think there's another piece that really came out of the book, which is really a kind of letting go of a story, letting go of how things are supposed to be, and owning the fact that I make lots of different things in lots of different styles — even while knowing that the art world doesn't really like that because it complicates the story.

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