
Google marks Juneteenth 2025 with a Doodle
June 19 (UPI) -- Google marked Juneteenth Thursday with a Google Doodle crafted to represent both African American heritage and culture, and as a nod to the state whose history helped birth the annual holiday.
Created by San Francisco-based artist Monique Wray, the Doodle features drawings of bluebonnets on each side, which symbolize both the Texas state flower and the Bluebonnet Electric Cooperative, a power company whose service area includes the location of several "Freedom Colonies," which were communities established by freed Black people after the Civil War.
The Doodle also features representations of coveralls, boots and fans, which reference attire from the days of the cowboys, as some of the first Texan cowboys were also African American. Another portion of the picture shows a DJ mixing a record, next to a panel of people line dancing, both nods to Black music in the United States.
A mockingbird also appears in the image, which happens to be the official state bird of Texas.
Before Juneteenth was a federal holiday, it was observed in Texas since 1980. The holiday's name is a portmanteau of June 19, and it was on that date in 1865 when Union troops arrived in Galveston, Texas, and told the enslaved Black people there they were freed by the Emancipation Proclamation, already in effect since 1863.
Google commemorated the holiday in 2024 with a Doodle of children playing Double Dutch in front of the Google logo.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Black America Web
5 minutes ago
- Black America Web
10 Powerful Speeches on Juneteenth and the Fight for Racial Justice
Source: Scott Olson / Getty Juneteenth isn't just a celebration—it calls us to remember, reflect, and rise. These 10 powerful speeches, past and present, still speak loudly about freedom, justice, and equality. Juneteenth marks the end of slavery in the United States. On June 19, 1865, Union troops arrived in Galveston, Texas, and announced that the last enslaved people were free. This news came more than two years after President Abraham Lincoln signed the Emancipation Proclamation. Freedom finally reached those who had lived in bondage and darkness. People named that day Juneteenth. Juneteenth means more than a date—it symbolizes delayed justice and enduring hope. For generations, Black communities have honored Juneteenth with parades, music, and speeches. Leaders, artists, and activists capture the emotion, struggle, and pride of a people who refuse to be erased. They use their voices every year to keep the spirit of Juneteenth alive. Historic giants gave some of these speeches. Frederick Douglass exposed American hypocrisy in his Fourth of July address. Malcolm X challenged systemic injustice with 'The Ballot or the Bullet.' Maya Angelou shared poetry revealing the pain and beauty of Black identity. Modern icons gave others. President Obama reflected on Juneteenth's meaning during a year of protest. Opal Lee, the 'Grandmother of Juneteenth,' fought tirelessly to make it a national holiday. Beyoncé and Amanda Gorman bring art and activism to new generations. These voices demand to be heard—now more than ever. People echo their messages in classrooms, rallies, and social feeds. Juneteenth reminds us that we must know, feel, and protect freedom. Some speeches directly address Juneteenth. Others focus on racial justice and equality more broadly. Together, they help us understand the ongoing fight for Black liberation and the true meaning of Juneteenth beyond the holiday. 10 Powerful Speeches on Juneteenth and the Fight for Racial Justice was originally published on A timeless oration on American hypocrisy and Black freedom. Obama discusses Juneteenth's meaning in a timely ABC News segment. Opal Lee reflects on the history and importance of Juneteenth in this insightful video. Cornel West passionately connects Juneteenth to the ongoing struggle for racial justice and collective healing. A moving performance of Dunbar's poem, echoing enduring Black resilience. Vice President Harris emphasizes Juneteenth as a pivotal moment in America's journey toward equality and justice. Congressman John Lewis, a stalwart of the civil rights movement, delivered this impassioned speech at the 1963 March on Washington. At just 23 years old, Lewis called for immediate action and justice, emphasizing that the time for patience had passed. His words continue to inspire generations to engage in 'good trouble' for the cause of equality. In this TED Talk, Bryan Stevenson, founder of the Equal Justice Initiative, delves into the deep-seated issues within the American justice system. He discusses the legacy of racial injustice and the importance of confronting uncomfortable truths to foster change. Renowned activist and scholar Angela Davis explores the intersection of race, capitalism, and justice in this compelling speech. She argues that true racial equality cannot be achieved without addressing the economic systems that perpetuate inequality. In this powerful testimony before the U.S. House Judiciary Committee, author Ta-Nehisi Coates presents a compelling argument for reparations, highlighting the enduring impact of slavery and systemic racism on Black Americans. Black America Web Featured Video CLOSE


San Francisco Chronicle
9 minutes ago
- San Francisco Chronicle
Nero's ancient Rome and Jazz Age New York meet in `The Comet/Poppea' at Lincoln Center
NEW YORK (AP) — Nero's ancient Rome and Jazz Age New York were similar. That is the message of 'The Comet/Poppea,' an intriguing combination of Monteverdi's 1643 opera 'L'incoronazione di Poppea' and George E. Lewis' 'The Comet,' a Pulitzer Prize finalist this year. The mashup conceived by director Yuval Sharon began a five-performance run at Lincoln Center's Summer for the City on Wednesday night. First seen in Los Angeles last year, the American Modern Opera Company production unfolds on a turntable that completes a spin each 2 minutes, 8 seconds. An audience of 380 is split into sections on opposite sides of the set on stage at the David Koch Theater while the venue's 2,586 auditorium seats remain empty. 'It's an unstable ride over the course of 90 minutes, and the power of the interpretation is up to each and every spectator,' Sharon said. 'Whether you're on one side of the seating bank or the other, you're going to have a totally different experience and you may miss a really important piece of action that your imagination is going to have to fill.' In Monteverdi's final opera, created to Giovanni Francesco Busenello's libretto, Nerone exiles his wife Ottavia, leaving him free to crown Poppea empress. Lewis composed 'The Comet' to librettist Douglas Kearney's adaption of W.E.B. Du Bois' dystopian eight-page 1920 short story in which a working-class Black man, Jim (Davóne Tines), and a society white woman, Julia (Kiera Duffy), believe they are the only survivors of a comet and can join to form a prejudice-free society. Their aspirations collapse when they learn people outside New York remained alive and segregation was unconquerable. 'People can make the leap between the music they're hearing and the kinds of tensions that are inherent to modern life and the tensions that the opera presents and the text presents, particularly around the dystopian aspect of white supremacy,' Lewis said. 'White supremacy is a kind of dystopia and it's a dystopia that we continue to live with today." Mimi Lien's two-sided set, illuminated strikingly by John Torres, is tiered with a bath at the top level on the Roman portion and a red Art Deco restaurant evoking the Rainbow Room on the other, where Jim and Julia find three dead bodies slumped. 'Jim is confronted with what it means to be the only man left alive, what it newly means to be a Black man allowed into spaces he wasn't before, but then have that dream crushed by the reality of Julia also inhabiting that space," said Tines, a commanding presence as Jim and the smaller role of Mercury. 'The Comet/Poppea' debuted at The Geffen Contemporary at MOCA last June and also was performed with a student cast in Philadelphia in November. It is part of a Run AMOC* festival of 12 productions at Lincoln Center that include 10 New York premieres. Friday's performance can been viewed on a live stream on Lincoln Center's Facebook and YouTube channels. Planning, writing and funding took years Sharon first discussed the project in 2018 with countertenor Anthony Roth Costanzo, who sings Nerone and Julia's father, a stuffed shirt dressed like Mr. Monopoly. 'It fell apart so many times,' Constanzo said. 'First, the pandemic came, and so all of our plans we'd put together were dashed. Then we had one co-producer who was giving a lot of money and they pulled out. Then we got another co-producer to put that much money in again and they pulled out." Sharon had met Lewis at a 2018 Columbia University conference and approached him with the idea of concentrating on Poppea's upward mobility and creating 'a secondary story to complicate and to make a mess of this idea of authoritarianism.' Sharon trimmed 'Poppea' to its essence. Lewis' music, filled with dissonance and a snippet of jazz, mixes with the Monterverdi's baroque, which Jim first hears from the restaurant jukebox. 'The conception was one in which you knew from the beginning that there are moments of overlap, there are moments of exchange, of sequentiality,' Lewis said. 'It could stand alone by itself, `The Comet,' certainly." Lincoln Center is presenting a more ambitious offering of classical events after drawing criticisms in the first three seasons of Summer for the City that emerged from the pandemic. There are 266 scheduled events from June 11 through Aug. 9. Programs are set to include jazz, Latin music, R&B, Broadway, pop, Caribbean, dance and more.
Yahoo
21 minutes ago
- Yahoo
This Bitter Earth: Billy Porter reveals all about his West End directorial debut (EXCLUSIVE)
On a close June afternoon in southeast London, Attitude steps into a sparse, fluorescent-lit rehearsal space: four chairs placed in its centre, a refreshments table in dire need of replenishment in from the side, and the constant thrumming of an aged air conditioning unit dominating the room. This is an 'in-between' space, a space charged with the relentless emotional heavy-lifting of four people busy at work, building something raw and is here that Billy Porter's West End directorial debut is being constructed. This Bitter Earth, written by Harrison David Rivers, is a searing exploration of love, race and identity through the story of an interracial gay couple, Jesse (Omari Douglas), a Black playwright, and Neil (Alexander Lincoln), a white activist. 'It's nice to know… even when I haven't been in the director's chair for a long time, I still got it,' smiles Porter. The play may mark his debut on the London stage, but Porter is no novice when it comes to directing. 'The problem solving is my favourite part. The creation of something, from the page to the stage.' Porter contrasts the director's chair with having recently finished a stint as The Emcee, in Cabaret. 'I had an amazing time… it's also eight shows a week. It's more than an ocean, we are athletes. There's nothing outside of doing that, when that is happening, so you gotta really want to be doing it, and I really love Cabaret.' A world away from the glamour of the Kit Kat Club, our conversation halts briefly as we put the air conditioning unit out of its misery. 'The Brits are so quiet', Porter jokes, referencing this writer's own voice projection. When Billy Porter offers feedback, you act on throats cleared, conversation turns to the sanctity and emotional balm that the theatre has long provided for the LGBTQ+ community. Writer Harrison David Rivers reflects on the gift that theatre has offered him over the years. 'The theatre has always been a kind of church for me. It's always been a sacred space,' he says. 'When I write a play, it's a blueprint for whomever decides to engage with it… I want them to feel all the things that the characters feel, to leave having experienced something. Leave lighter, and/or encouraged, and/or empowered, raring to go, to change something, to tear something down.' Rivers has a definite idea of his ideal target audience – or mindset – of who he wants to be impacted by This Bitter Earth: everyone. Full stop. 'I want all. I want everybody. I think this story is for everyone.' Actor Alexander Lincoln – known for roles in rugby drama In From the Side and Emmerdale – reflects with disarming honesty. 'I mean, I come from Surrey… Growing up, there wasn't a lot of diversity, and I think that as open minded as a lot of people are that I grew up with – we, they, all of us – don't discuss the topics of this play as much as I think we should'.Lincoln also highlights the vulnerability at the heart of his performance. 'There's a lot of white guilt that stops a lot of people engaging in the discussion and the discourse. Billy and Harrison have allowed us to talk, and really get into the basis of what is being said. I think that's been a really beautiful aspect of the rehearsal process.' On his character Jesse, Omari Douglas says he's simply trying to make sense of his existence – while also being a Black gay person in America. 'He's making sense of stuff and he's trying to survive.' Douglas goes on to acknowledge that the African American experience is not his own, yet the existence of intersectionality and 'the justification that you have to make for yourself, time and time again' is something that is entirely familiar. 'The play is just truth, through and through.' In thinking of a single image or scene that might stay with an audience long after watching This Bitter Earth, Porter reflects emotionally on the characters' arcs. 'It's a very simple image. It's just sitting at the foot of the stage…' Porter takes a long pause as the scene flashes before him. 'Even those of us who sort of revel in this idea that we're fine alone, that we're independent… that we can do it by ourselves… to have the courage to be vulnerable enough to say, 'I can't do this by myself. And I don't want to actually'. That, for me, is the transformational nature of this story'.As we wrap our interview, a silence lingers. The air shifts, and the room slowly exhales. The spell cast by these four artists in their rehearsal space – thick with honesty and heat – is potent. On stage, in the intimate walls of Soho Theatre, you'll feel it. Deeply. And then some. This Bitter Earth is at Soho Theatre on 18–26 July 2025. The post This Bitter Earth: Billy Porter reveals all about his West End directorial debut (EXCLUSIVE) appeared first on Attitude.