2025 Juneteenth preview
Juneteenth is a federal holiday that commemorates the Emancipation Proclamation for enslaved people in the U.S. The holiday was first celebrated in Texas back in 1865 when enslaved people were declared free.
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The event will feature live music, arts and crafts, free food such as soul food, and plenty more. The president of the NAACP said this event welcomes all types to come celebrate the African American community.
'What to expect is just coming in ready to celebrate,' said Monique Scarlett, the president of the Sioux City NAACP. 'Community means everyone, so it doesn't matter what color you are, what religious background you have, whether you're male, female, it does not matter. We are coming together to celebrate as a community.'
The celebration will kick off on June 19th from 5 to 8 P.M. at the Sioux City Public Library.
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Miami Herald
2 days ago
- Miami Herald
‘Joined at the Roots' is an exhibit to change the Haitian and Black American narrative
Haitians and Black Americans have lived side by side in South Florida for decades. While the relationship between the two communities has not always been smooth, they have managed to coexist, 'building families, businesses, churches, and communities that defied the odds,' according to Bart Mervil, CEO of My Urban Contemporary Experience (MUCE) and organizer of the 'Joined at the Roots' exhibit, currently on view at the Little Haiti Cultural Complex through Saturday, Aug. 30. The exhibition aims to shift public perception by exploring shared stories that connect Haitians and African Americans, emphasizing the historical and ongoing ties between the communities. It showcases the works of a diverse group of artists working across painting, sculpture, and photography. 'Joined at the Roots was born out of a need to honor the quiet, powerful history of solidarity between Haitians and African Americans,' says Mervil, describing a legacy often eclipsed by stories of division. He notes that while both communities have made significant contributions, their impact is rarely part of mainstream conversations. 'From local politics to high school championships to shared porches and block parties, we have had real moments of collaboration, unity, and brotherhood,' adds Mervil. 'This hybrid culture did not just survive poverty. It gave rise to entrepreneurs, educators, artists, and a thriving Black middle class. This exhibition is a love letter to that shared struggle and success.' According to Mervil, every artwork featured in the exhibition contains an element of the shared narrative of the two black communities in Miami. Mervil explains that the exhibition highlights significant historical examples of collaboration between Haitians and African Americans in South Florida. 'The first wave of Haitian immigrants were welcomed by Black churches; residents in Overtown opened their homes, shared meals, and offered resources,' says Mervil. A central quote prominently displayed within the exhibition reads, 'We're either going to come together or we're going to perish together.' Mervil describes this message as pivotal. 'That quote hits deep because it's not just a warning, it's a truth. We chose it because it speaks to the heartbeat of the exhibition: We go together,' according to Mervil.. He continues, 'There is no separation in this family. Haitian, Bahamian, African, Jamaican, African American, we are all branches from the same root. When we see ourselves as one body, one vision, imagine the power of our collective economics, our collective voice, our collective vote. We don't rise until we rise together.' The idea for the exhibit began with a series of conversations with artists and community leaders about the underrepresented stories of cooperation between Haitian and African American residents in Miami. Among the artists contributing to the exhibit is Fabienne Polycarpe, a first-generation Haitian American and cultural wellness curator. She contributed a series rooted in her upbringing around her mother's beauty salon. Polycarpe's art explores hair as a profound cultural symbol, reflecting both Haitian traditions and Black American influences. 'Hair has always been more than just hair; it's been ritual, identity, memory, and survival,' says Polycarpe. As a child, she remembers how her Haitian mother instilled the importance of hairstyles that reflected discipline and respectability. 'I wore ribbons and 'boule gogo' [braid balls]; my hair parted into clean plaits,' she says. 'But deep down, I admired the colorful beads Black American girls wore.' Over time, Polycarpe began to recognize how her artistic voice was influenced by both cultures. 'And as I got older,' she adds, 'I realized my artistic voice was formed by that dual gaze, the Haitian lens of structure and reverence, and the Black American lens of freedom, creativity, and expression.' Ultimately, she concludes, her art exists in the space where these two cultures meet, carrying the language of both traditions. Another featured artist, Nate Dee, who grew up in Miami, presents a portrait of Uncle Al (Albert Leroy Moss), an African American DJ and community leader whose legacy helped bridge cultural gaps. Dee, a Haitian American muralist, recalls coming of age during a period when being Haitian carried social stigma. DJ Uncle Al's visible support for the Haitian community left a lasting impression on him. 'I went to high school down here in the 1990s, and it was really rough to be Haitian, especially in the late '80s and early '90s,' Dee says. 'So, to see a person like DJ Uncle Al, who wasn't Haitian, showing love was big for me.' Reflecting on those years, Dee adds, 'As a teen I listened to his music and even grew up thinking he was a Haitian American DJ, only to find out later that he was in fact African American. This was in part because he was very active in Little Haiti.' DJ Uncle Al, recalls Dee, founded the Peace in the Hood festival to bring together people from various neighborhoods and cultural backgrounds. His goal was to celebrate community and demonstrate that peaceful coexistence and mutual respect were possible and necessary. 'He wanted to show that we have more in common than what differentiates us, that we are all truly the same. Just different branches from the same tree.' Artist Tawana Dixon contributed two pieces to the exhibition. One pays tribute to Arthur Teele, an African American political figure whose work helped lay the foundation for the Little Haiti Cultural Complex. The other captures the vibrant Haitian presence at the West Indian American Day Parade in Brooklyn. 'I ultimately chose to center the portrait around Teele because I wanted to explore the relationship between communities,' says Dixon, who was raised in New York and now resides in Miami. 'In doing so, I hoped to honor the bond between Haitian and African American communities in a way that wasn't too literal or expected.' Reflecting on her second piece, Dixon says her New York upbringing made it essential to include Brooklyn's Little Haiti in the show. 'While Miami's Little Haiti came first and is home to established institutions like the Cultural Complex, Brooklyn has the largest Haitian population in the U.S. and a community that has fought hard for recognition,' she says. She adds, 'Haitians in New York were once seen as underdogs in the Caribbean community, but through resilience and pride, they've earned deep respect. Their presence, especially during the West Indian Day Parade, is powerful.' Ruth Louissaint, an educator and Haitian artist, contributed a shrine centered around Dana A. Dorsey, Miami's first Black millionaire. Her installation incorporates flags, religious symbols, and historical elements that reflect the intersection of culture and spirituality. 'To me, the shrine embodies all three themes of the exhibition: identity, resistance, and unity,' says Louissaint. Other artists in the exhibition also explore the emotional depth of blended identities. Joe Wesley's photography captures moments of intimacy, pride, and joy between community members. Oscar Martinez sculpts a tribute to Dana A. Dorsey. Rico Melvin's paintings evoke ancestral memory, while his textile art speaks in the quiet, powerful language of heritage passed down. The works of Edwaffle, Nica Sweet, and Anthony Lumpkin add layers of generational reflection, migration, and domestic life. For Mervil, the exhibit reflects MUCE's broader mission to preserve heritage while diversifying the artistic landscape in South Florida. 'MUCE has always believed in bringing culture to the people, not keeping it hidden behind museum walls,' he says. 'This exhibit lives right where it belongs: in the neighborhood, in the community, and in a space built for cultural expression.' Beyond its artistic value, the exhibit aims to foster real-life conversations among community members and visitors alike. Polycarpe says the community's response has been emotional and affirming. 'What I cherish most is when someone stands in front of my work, pauses, and says, 'That's my story,'' she explains. Dee hopes younger generations inspired by his tribute to Uncle Al will learn about the DJ's contributions. 'I hope they explore his legacy and all of the positive impact he had on the Miami cultural scene,' he says. Louissaint echoes the sentiment, emphasizing the role of art in countering the divisiveness currently shaping American discourse. 'We are currently in a strange time in the U.S. where much of the rhetoric is divisive. I think events like this are important and an act of resistance against this growing trend throughout the country.' 'Joined at the Roots' also acknowledges the evolving nature of cultural identity in cities like Miami, where gentrification and displacement threaten to erase long-standing community narratives. Artists like Polycarpe see their participation as a form of preservation, a way to anchor the stories of a vanishing neighborhood in memory and meaning. 'There's a deep sense of loss, but also a sense of responsibility to share my stories of witnessing and experiencing the forever that are no longer 'forevers' but a love letter to Little Haiti,' Polycarpe says. 'Being part of this exhibition is an honor. It feels like I am giving something back to the place that raised me.' WHAT: 'Joined at the the Roots' WHEN: 9 a.m. to 9 p.m., Monday through Friday; Saturday and Sunday schedule may vary based on programming and events. Through Saturday, Aug 30. WHERE: Little Haiti Cultural Complex, 212 NE 59th Terr., Miami COST: Free INFORMATION: 305-960-2969 or or is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music, and more. Don't miss a story at
Hypebeast
25-07-2025
- Hypebeast
Hypebeast Community Center: Hikari no Yami
Give us your elevator pitch. My name is Jakarie Whitaker, and I'm the creative director and founder of the brand Hikari no Yami. Hikari no Yami is Japanese for 'light of darkness.' The brand was created to serve as a cultural bridge between worlds, merging my African American heritage with Japanese design sensibilities and philosophies, such as Kintsugi and wabi-sabi. Who is wearing Hikari no Yami? Leaders, thinkers, artists, rebels, and people who exist outside the conventional box. Our community includes anyone who finds beauty in imperfection. What is your brand's main message? Sustainable creations without limitations and Freedom through duality. Cultural combination through merging the east and west and appreciating contradictions like light and dark & control and chaos… while pushing sustainable, philosophical fashion. When did you launch your label? I launched Hikari no Yami in 2020 during the pandemic. It started as a self-taught form of protest and expression, and then it evolved into a global dialogue. Where are people wearing Hakari no Yami? Tokyo, NYC, Seoul, Shanghai! It's worn everywhere that style and culture intersect. The brand is so versatile that it's suitable for all occasions — and bound to turn heads. Why was Hikari no Yami created? To destroy traditional fashion systems and give me the freedom to create without any limitations or expectations. I needed a space to honor both my heritage and the eastern philosophies/Japanese design sensibilities that I love, so I created it. I view Hikari no Yami as my philosophy book that others can relate to. When did fashion design become a passion for you – and on top of that, an intended career path? I was actually super late to fashion. During a gap year, I saw Virgil's 'The Ten' collection. That shifted everything. I switched from pre-med to fashion and philosophy, diving deep into design as both a dream and a medium for change. You're a four-time Virgil Abloh scholar. How did that experience help shape your craft? Virgil was one of the designers who taught me to dream. Being a Virgil Abloh scholar gave me confidence in my voice. His legacy taught me to design from truth, to remix culture with intellect, and to break systems without apology. Those scholarships weren't just awards; they were reminders that I belonged. Seeing Virgil deconstruct things helped inspire my brand's ethos. So far, what has been your biggest takeaway from studying fashion design, as you begin your master's at Central Saint Martins this fall? Attending fashion schools all over the world has taught me the importance of networking, dedication, and how to stand out in a crowd of loud voices. Also, it's taught me to remember that you're only in competition with yourself. How would you define Hikari no Yami's style in your own words? Hikari no Yami is freedom and chaos unleashed. It's an amalgamation of my experiences traveling, working under my favorite fashion brands, and creating my own definition of what fashion can be in the modern world. What do you think makes Hikari no Yami stand out in today's sea of emerging fashion brands? We don't just make clothes… We build ideologies. Our commitment to sustainability, our distinct designs, and cultural storytelling make us more than the average emerging label. The search for freedom resonates in our work, and the viewers feel that. Hikari no Yami is already building a strong identity, one defined by punkish imagery and subversive design tricks. What role do visuals play in the brand's story? Our visuals bring the viewer into the world of Hikari no Yami. I believe visuals are the most valuable part of the story, and I make sure they capture the brand's main focuses: culture, black and white, and light and darkness. What style codes or eras do you draw inspiration from? A combination of avant-garde reverse tailoring and streetwear. I'd say the Karasu-Zoku movement spearheaded by Rei Kawakubo, Yohji Yamamoto, and Issey Miyake in the '80s is my biggest inspiration in design, and the Post-Modern Renaissance brought on by Virgil in the 2010s inspires me with the notion of 'you can do it too.' What is the biggest challenge you've faced while building your brand? I'd say self-funding everything is quite daunting, but it's also enjoyable to have something to constantly work toward. Who would you most like to see your designs on? The dream is Rihanna and A$AP Rocky, also Zendaya and Fuji Kaze. What's next for Hikari no Yami? After coming off of our Paris Fashion Week exhibition and being a finalist for the Fashion Trust U.S, we're planning to do a debut presentation during New York Fashion Week this September.
Yahoo
25-07-2025
- Yahoo
Last Surviving Cast Member of Popular TV Show Dies at 89
One of the most popular sitcoms of all time has brought laughs to several generations of fans, but those fans are now mourning the loss of the show's final surviving cast member. Kenneth Washington, who played Sergeant Richard Baker on the final season of "Hogan's Heroes," died on July 18 at the age of 89. Washington joined the show in its sixth and final season, replacing Ivan Dixon in the role of Sgt. Baker in 1970. The show would end the following year, but his role in the popular series was a gateway for Washington to appear in other popular shows. In addition to his role on "Hogan's Heroes," Washington also appeared in the original "Star Trek" series with George Takei and William Shatner. He was seen in multiple episodes of "Adam-12" in the 1960s with actors like Martin Milner. "Hogan's Heroes" aired on CBS for six seasons in the 1960s and 70s. The show was set in a Nazi Germany POW camp and followed a group of Allied soldiers who used the camp as a base to plan operations. Bob Crane starred as the titular Col. Robert E. Hogan, the main protagonist of the show. The show aired over 160 episodes during its original run, and has entertained fans for years through both local and national syndication. The show was nominated for several awards during its run, including 12 nominations in the Emmys. It won twice, with Werner Klemperer taking the outstanding supporting actor honor in both 1968 and 1969. "Hogan's Heroes" was also included in the first-ever NAACP Image Awards as an example of positive representation from Black actors on screen in 1967. Washington also appeared in the original film adaptation of "Westworld," alongside western legend Yul Brynner. His film career spanned several decades, beginning in the mid-1950's. In one of the final roles of his career, he was a guest star on an episode of "A Different World," the Cosby spin-off set at a fictional historically Black college. Rest in peace to Kenneth Washington, and we send condolences to his fans, friends, family and loved ones during this difficult time. Last Surviving Cast Member of Popular TV Show Dies at 89 first appeared on Men's Journal on Jul 23, 2025 Solve the daily Crossword
