29 February 2012

make sure everyone can hear you.

If you are going to think black, think positive about it. Don't think down on it, or think it is something in your way. And this way, when you really do want to stretch out, and express how beautiful black is, everybody will hear you.
Leontyne Price

Change Up

change-up, 

let's go for ourselves

both cheeks are broken now.

change-up,

move past the corner bar,

let yr/split lift u above that quick high.

change-up,

that toothpick you're sucking on was

once a log.

change-up,

and yr/children will look at u differently

than we looked at our parents
 
--Haki R. Madhubuti

On this day,

in 1940,

Hattie McDaniel known for her supporting roles became the first African American to win the Oscar Award for her role as 'Mammy' in the movie 'Gone With The Wind'. Not only was she the first African American to receive this award, but the was the only woman to have received it until Whoopi Goldberg received the same award for her role in the movie 'Ghost'.


(and this week, in 2012 Octavia Spencer, won The Academy Award for a similar role of a black woman subservient to a white woman.)


Another Wednesday Flashback

Wednesday Flashback


28 February 2012

B E (Basement Elevation)

 

   People will take advantage of you for as long as you let them.  DON'T LET THEM.


Janet Jackson Got Til Its Gone J Dilla Mix

On today,

in 1984,


Michael Jackson wins eight Grammy Awards. His album, "Thriller", broke all sales records to-date, and remains  the top-grossing album of all time.






A Facebook status update I saw this morning



     I asked God to protect me from my enemies, and I started losing friends.

Self- Unity, first



There can be no black-white unity until there is first some black unity.... We cannot think of uniting with others, until after we have first united among ourselves. We cannot think of being acceptable to others until we have first proven acceptable to ourselves.
--Malcolm X

Malcolm X

23 February 2012

Thursday FlashBack






28 Unknown Facts: Black History

My nephew found this on youtube today and was very excited about it

An illustration explaining the Republican position on Woman's health rights.

W E B Du Bois

Would America have been America without her Negro people?

                                    

            W. E. B. Du Bois,


                                                Born today, 1868
 
 







Black Tech game changers- George E. Alcorn

While at NASA, Alcorn invented the imaging X-ray spectrometer, which allowed scientists to examine materials that couldn't be broken down into smaller parts for study. The physicist received the NASA Inventor of the Year Award in 1984 for his device.


22 February 2012

Mary J Blige - Ooh (J Dilla Remix)

Meshell Ndegeocello - Pocketbook(J Dilla remix)

Obama Helps Break Ground on Black History Museum

On Today

in 1937, Ishmael Reed was born.

Ishmael Reed is one of the most original and controversial figures in the field of African American letters.


He was born in Chattanooga, Tennessee, on 22 February 1938, but he grew up in Buffalo, New York. After graduating from high school in 1956, he enrolled as a night student at Millard Fillmore College but transferred to the University of Buffalo as a day student with the assistance of an English teacher who was impressed with a story Reed had written. For financial reasons, however, Reed eventually withdrew without taking a degree. He remained in Buffalo for some time, working as a correspondent for the Empire Star Weekly, a black community newspaper, and serving as cohost of a local radio program that was canceled after Reed conducted an interview with Malcolm X.
Moving to New York City in 1962, Reed served as editor of a Newark, New Jersey, weekly and helped establish the legendary East Village Other, one of the first and best-known of the so-called underground newspapers. Reed also was a member of the Umbra Writers Workshop, one of the organizations instrumental in the creation of the Black Arts movement and its efforts to establish a Black Aesthetic.
Reed's first novel, The Freelance Pallbearers, was published in 1967. That same year he moved to Berkeley, California, later relocating to the adjacent city of Oakland, where he currently resides with his wife, Carla Blank, a dancer and choreographer. They have a daughter, Tennessee. Reed also has a daughter, Timothy Brett, from a previous marriage.
Reed has taught at the University of California at Berkeley since the late 1960s, even though he was denied tenure in 1977 (a circumstance he wrote about in his first collection of essays, Shrovetide in Old New Orleans (1978). He also has held visiting appointments at many other academic institutions, including Yale, Harvard, Dartmouth, Washington University in St. Louis, and SUNY Buffalo. In addition to winning several awards for his writing, Reed has been nominated for the Pulitzer Prize and was twice a finalist for the National Book Award (once in poetry and once in fiction).
As of 1995, Reed had published nine novels, five books of poems, and four collections of essays; he also had authored four plays, three television productions, and two librettos, and edited four anthologies. His publishing and editing enterprises have included Reed, Cannon and Johnson Publications, I. Reed Books, and the journals Yardbird Reader Y’Bird, Quilt, and Konch.
1976, Reed cofounded what is--outside of his writing--perhaps his most significant venture, the Before Columbus Foundation, a multiethnic organization dedicated to promoting a pan-cultural view of America. One of Reed's outstanding attributes is his consistent advocacy of powerful, innovative, and neglected writing--not just by people of color but by white people as well. This might seem surprising to those who associate Reed with the combative, antiwhite aesthetics and politics of the cultural nationalist program, but it is important to understand that Reed's involvement with the Black Arts movement, through his membership in the Umbra Workshop, was a complex one that can be described as both participatory and adversarial. True, Reed is a vigorous promoter of African-originated modes of being and performance, which he uses to challenge established canons of judgment and achievement, but a careful assessment of his work over three decades reveals that his pro-black position never was a dogmatic one. If much of Reed's work constitutes an intertext through which "the blackness of blackness" can be read, he nevertheless insists that this "blackness of blackness" cannot be categorized or prescribed. For Reed, as his masterpiece Mumbo Jumbo (1972) signifies, this indefinable but irresistible something "jes grew." It may indeed be "mumbo jumbo"--an enigma to the ignorant, a function of "soul" to those who know--but it is not reducible to skin color alone or to a militant creed.
In Reed's view, the black element reveals the permeable nature of American experience and identity, but he also acknowledges the permeable nature of blackness; thus Reed actually belongs in the company of those for whom notions of "mainstream" and "margins" are falsely dichotomous. Reed insists, for example, that a black writer steeped in tradition is a "classical" writer. At the same time, Reed's postmodernism enables him to take in everything at once, so to speak, so that conventional ideas of form and genre are contested, as well as canonical considerations.
Neohoodooism is the name Reed gave to the philosophy and aesthetic processes he employs to take care of business on behalf of the maligned and the mishandled. Hoodoo--the African American version of voodoo, a misunderstood term that actually refers to traditional African religious practices as they have reasserted themselves in the diaspora--appeals to Reed because of its "mystery" and its eclectic nature, thus providing him with an appropriate metaphor for his understanding and realization of art. Reed's best statements concerning the workings of neohoodooism can be found in his first book of poetry, Conjure (1972)--especially "Neo-HooDoo Manifesto," "The Neo-HooDoo Aesthetic," and "catechism of d neoamerican hoodoo church"--while the most successful actualizations of neohoodooism as a practice are his novels Yellow Back Radio Broke-Down (1969), the aforementioned Mumbo Jumbo, and Flight to Canada (1976).
Neohoodooism is, in many ways, a truly "black" art, but at the same time, due to the undeniable mix of ingredients in the New World, it is also "something else." Unlike those who argue for a black essentialism, Reed sees this hybridity as a virtue, rather than a defect or betrayal. A deep immersion in blackness is simultaneously an immersion in Americanness, given the extent to which, as a result of slavery and its aftermath, Africa helped to make America; and, considering the give-and-take of many other cultural influences, an immersion in Americanness is also an experience of the unfolding of multiculturalism.
Leaving aside for a moment his contributions as an author to American literature, it seems safe to say that when the history of multiculturalism in the late twentieth century is written, Ishmael Reed's entrepreneurial and promotional efforts will be seen to have played a meaningful role in demonstrating the degree to which we are--artistically as well as demographically--a nation of nations.
In his writing, Reed is a great improviser, a master of collage with an amazing ability to syncretize seemingly disparate and divergent materials into coherent "edutainments"--forms of surprise, revelation, and frequent hilarity. However, those who focus primarily on how funny or unfunny his works are miss the point of Reed's rollicking revisions, his apparently loony "toons"--which is to employ humor as a weapon in the very serious enterprise of exposing human excesses and absurdities, and, at the same time, to remind us of the dangers of taking ourselves and our cherished opinions too seriously. (One of Reed's consistent gripes about militants of all persuasions is that they lack a sense of humor.)
From the start, Reed's iconoclasm has been aimed not only at the Western tradition, which has attempted to monopolize the world at the expense of other versions of experience, but at the black tradition as well. Reed's first novel, The Freelance Pallbearers, parodied Ralph Ellison's Invisible Man--for many critics, the masterwork of African American fiction and black autobiography in general--at a moment when black studies was just being established and the principal critical approach was a documentary one that emphasized black art's sociopolitical aspects. For Reed to be seen as satirizing the black literary tradition in a period of Black Power and the long overdue recuperation and reassessment of that very tradition was not likely to endear him to either white liberals or black cultural nationalists.
The risk of censure and ridicule notwithstanding, Reed always has gone against the grain of the prevailing critical-polemical fashion--a sign of his fierce independence as an artist and thinker. He has insisted continually on his right to do things his own way, and possesses an uncanny skill at pinpointing the follies and inconsistencies of many aspects of our consensus reality. Although Reed prefers to ride ahead of the herd, he is viewed in certain quarters as conservative, even reactionary--a judgment of his own position that he satirized in "The Reactionary Poet" in his third collection of poems, Secretary to the Spirits (1978).
Using analogies from comedy and music, one could argue that Ishmael Reed is much closer to Richard Pryor and In Living Color than he is to Bill Cosby, more akin to George Clinton or Sun Ra than to Wynton Marsalis. Does this help us to place him within the black tradition? At the least, it forces us to relinquish any notion of "the" black tradition; there are, and always have been, several black traditions, sometimes conflicting, sometimes intersecting, but nonetheless coexistent. One of the reasons Reed's reputation has suffered over the years is that he has steadfastly refused to toe any party line with regard to African American authenticity, aspiration, and achievement. Moreover, as the title of his 1993 essay collection, Airing Dirty Laundry, indicates, Reed believes in "outing" what others wish to keep closeted. Rather than working toward closure, he vigorously engages in disclosure. Some critics have interpreted the openness (and occasional open-endedness) of Reed's works as indeterminacy. For example, Michael G. Cooke, in Afro-American Literature in the Twentieth Century (1984), while emphasizing Reed's importance based upon the distinctiveness of his vision, style, and scope, believes nonetheless that his work is "affected by an instinct of irresolution." Reed's target, however, is the overdetermined, which he combats by accentuating chance, spontaneity, and instinct, deliberately embracing what amounts to an uncertainty principle that acknowledges "other" positions, myriad possibilities.
Given Reed's chosen task of providing revelatory "readings" of, and putting operative "writings" on, both black and white mischief and miscreants, it would have been impossible for him to have received only praise for his efforts. Reed does, in fact, have his share of enemies and detractors, who, in a real sense, are as much of a defining presence for his career as the endorsements of his many admirers. Indeed, Reed made the negative pronouncements of some of his critics part of the "problem" to be solved by the proper decoding of Mumbo Jumbo when he included them on the back of the dust jacket of the original hardcover edition of the novel.
The impressive commercial success attained by some African American authors has eluded Reed; yet, over the course of a distinguished and turbulent career, he has received numerous, frequently potent, critical accolades. Musician Max Roach is said to have called Reed the Charlie Parker of American fiction, while Fredric Jameson has judged him to be one of the principal postmodernists. Nick Aaron Ford, in Studies in the Novel (vol. 3, 1971), referred to him as the "most revolutionary" African American novelist to have appeared thus far, and Addison Gayle, Jr., in The Way of the New World (1975), called Reed the best satirist in the black tradition since George S. Schuyler. Acknowledging that his satire does derive in part from Schuyler, Wallace Thurman, and Rudolph Fisher, Henry Louis Gates, Jr.'s essay on Reed in the Dictionary of Literary Biography (vol. 33), argues that he really has "no true predecessor or counterpart." For Gates, Reed’s situation in the African American literary tradition is both "unique" and "ironic" because the conventions and canonical texts of the tradition itself are the principal targets of Reed’s satire. It is crucial to insist, however, that Reed is in no way indulging in a gratuitous put-down of black writers and writings; rather, he is engaged in a project of emancipating an artistic heritage from predictable or predetermined forms and norms imposed by those who fail to fully comprehend the depth and complexity of that heritage, including its folkish inventiveness, hilarious undercurrents, and seasoned extravagances. Reed, in short, uses tradition to illuminate and reinvigorate tradition, combining continuity and improvisation in a cultural dynamic that Amiri Baraka has astutely dubbed "the changing same."





Amen

I have no desire to take all black people back to Africa; there are blacks who are no good here and will likewise be no good there....


--Marcus Garvey


Obama Sings Again; This Time ‘Sweet Home Chicago’

When Mick Jagger held out his mic to the President of the United States during a Black History Month blues jam at the White House last night, the audience in the East Room got another dose of Barack Obama carrying a tune.

Obama’s surprise performance came at the end of the playlist when the concert featuring blues all-stars of the past, present and future turned to “Sweet Home Chicago,” the blues anthem of Obama’s home town.
Buddy Guy prodded the president, saying he’d heard him sing part of an Al Green tune recently, and adding, “You gotta keep it up.” Then Jagger handed over the mic, and Obama seemed compelled to comply.
“Come on, baby don’t you want to go,” the president sang out twice, handing off the mic to B.B. King momentarily, and then taking it back to tack on “Sweet Home Chicago” at the end.
With that, he grabbed the hand of his wife Michelle and the two left the East Room to cheers.
Earlier, Obama kicked off the special night by saying that sometimes there are downsides to being the president. You can’t just go for a walk, for example. And then there are the times that more than make up for all those frustrations, he said, like Tuesday night, when Jagger, King, Jeff Beck and other musical giants came by the house to sing the blues.

“I guess things even out a little bit,” Obama joked. “This music speaks to something universal. No one goes through life without both joy and pain, triumph and sorrow. The blues gets all of that, sometimes with just one lyric or one note. “
King, 86, arrived in a wheelchair but rose tall to kick off the night with a raucous “Let the Good Times Roll,” quickly joined by other members of the ensemble. And he followed with “The Thrill is Gone.”
From there, Obama and Michelle were swaying in their seats and singing along to an all-hits playlist including “St. James Infirmary” and “Let Me Love You.”
Beck slowed things down with an instrumental “Brush With the Blues,” as anticipation built for the arrival of Jagger, who did not disappoint.
The longtime Rolling Stones frontman delivered on “I Can’t Turn You Loose” and then teamed up with Beck on “Commit a Crime.” Jagger got the president and his wife up out of their seats, swaying and clapping to the music, and picked up the pace with “Miss You,” performed with Shemekia Copeland and Susan Tedeschi.
Obama was clearly savoring the moment, closing his eyes at times and nodding his head as he lip-synced the words.

The president rose at the end to introduce the ensemble as the “White House Blues All-Stars” for the final song of the night, “Sweet Home Chicago.”

In advance of the concert, Grammy-winner Keb Mo had joked during a rehearsal break that Obama himself would perform, and there could even be a record in the works. He joked that Obama’s record would be called, “After the second term, now I can finally get my groove on.”
The lineup for Tuesday’s concert spanned multiple generations, from legends like King and Guy to young faces such as 26-year-old Troy “Trombone Shorty” Andrews and Gary Clark Jr., whose style blends hip hop, contemporary soul and indie rock. Also performing were Warren Haynes and Derek Trucks, with actress Taraji P. Henson as the program host and Booker T. Jones as music director and band leader.
The blues concert will be part of the “In Performance at the White House” series that airs on PBS. This one, designed to recognize Black History Month, will be broadcast on Monday on PBS stations and aired later on American Forces Network.




Black Tech game changers- James C Letton

Letton made a name for himself at Procter & Gamble by earning several patents for biodegradable soap elements and enzyme stabilizers for laundry detergent in the late 1970s. The scientist, who earned a Ph.D. in organic chemistry, has also been granted several patents while working as part of the team exploring uses for fat substitute Olestra.



21 February 2012

A Life Lesson

It's not until you learn to love and respect yourself that you can recognize when someone is treating you in a manner that is less than what you deserve.



--Alieux George

Black Tech game changers- Lonnie Johnson

Figures it would take a rocket scientist to invent one of the greatest water guns of all time, the Super Soaker. One day in 1982 Johnson, an aerospace engineer who loved to tinker at home, was working on creating a heat pump that used water to cool down instead of Freon. That device led to one of the most popular toys ever made. The Super Soaker generated $200 million in retail sales and turned Johnson into a millionaire. He's now using his fortune to develop energy technology.


20 February 2012

Black Tech game changers- Garrett A Morgan

After witnessing an accident between a horse-drawn carriage and an automobile, Morgan had an idea. His three-position traffic signal, patented in 1923, helped save lives at a time when cars, horses and pedestrians all shared the road. But this wasn't even his most famous invention. Morgan received a patent in 1912 for his safety hood and smoke protector (a precursor to today's gas mask), which helped save a group of men trapped in a tunnel beneath Lake Erie in 1916.


19 February 2012

The Power of Words - Maya Angelou

Black Tech game changers- Shirley A. Jackson

Shirley A. Jackson is known for her innovative work in theoretical physics and semiconductor theory. In 1985 President Bill Clinton appointed the physicist chairwoman of the U.S. Nuclear Regulatory Commission, making her the first woman and the first African American to hold the position. In 2002 Discover Magazine named her one of the 50 Most Important Women in Science.

18 February 2012

I am a Human Being - Maya Angelou

Black Tech game changer-Marc Hannah

Anyone awed by the special effects in the films Jurassic Park, Terminator 2 and The Abyss should thank Hannah. The computer scientist is one of the founders, in 1982, of the software firm Silicon Graphics (now SGI), where the special-effects genius developed 3-D graphics technology that would be used in many Hollywood movies. Donkey Kong fans also owe a debt of gratitude to Hannah: He was instrumental in designing the Nintendo 64 gaming system.


17 February 2012

Power

Black Power is giving power to people who have not had power to determine their destiny.
--Huey Newton

You are Black Gold

Black woman

will define herself. naturally. will
   talk/walk/live/&love her images. her
   beauty will be. the only way to be is
   to be. blackman take her. u don't need
   music to move; yr/movement toward her
   is music. & she'll do more than dance.

                       --Haki R. Madhubuti

-Some Eric Benet

LOL

Note to self- Della Reese: Advice to Young African Americans / America's Racial Future

Black tech game changer- Lewis Latimer

Thomas Edison may have invented the electric lightbulb, but Latimer helped make it a common feature in American households. In 1881 he received a patent for inventing a method of producing carbon filaments, which made the bulbs longer-lasting, more efficient and cheaper. Latimer, who at one time worked as a draftsman for inventor Alexander Graham Bell, would eventually be hired by Edison and continue his innovations in electric lighting. Edison's company would go on to become General Electric.


Picture of the day

HAPPY BIRTHDAY Chante Moore!



Your Love Supreme

16 February 2012

Black tech game changer- Mark Dean

Mark Dean is one of technology's top innovators. The computer engineer helped design the IBM personal computer, introduced in 1981, that became a staple on desktops. He, along with co-inventor and IBM colleague Dennis Moeller, helped develop the interior hardware that would allow computers to connect to printers, monitors and more. Ironically, the man who helped make the PC popular is now using only tablets, noting in a blog post, "When I helped design the PC, I didn't think I'd live long enough to witness its decline."

Good morning heartache- Jill Scott & Chris Botti

Have/have not --Alieux D. Casey-George

\
I have black skin. you dont.
I have nappy hair. you dont.
I have thick lips. you dont.
I have a high school degree. you dont.
I have a college degree. you dont.
I have significant work experience. you dont.
I have life experience. you dont
I have black skin; you dont,
so
I have points against me. you dont.
I have pent-up rage. you dont.
but
I have GOD on my side.

&

You dont.
 
 


Def Jam Poetry=Floetry "Fantasize"

15 February 2012


"Relationships are worth fighting for, but sometimes you can't be the only one fighting. At times, people need to fight for you. If they don't, you must just move on & realize what you gave them was more than they were willing to give you. Hopefully, people realize great things when they come around & don't lose something real. Always fight until you can't anymore, & then be fought for." 

--author unknown

Yet Do I Marvel- Countee Cullen

I doubt not God is good, well-meaning, kind,
And did He stoop to quibble could tell why
The little buried mole continues blind,
Why flesh that mirrors Him must some day die,
Make plain the reason tortured Tantalus
Is baited by the fickle fruit, declare
If merely brute caprice dooms Sisyphus
To struggle up a never-ending stair.
Inscrutable His ways are, and immune
To catechism by a mind too strewn
With petty cares to slightly understand
What awful brain compels His awful hand.
Yet do I marvel at this curious thing:
To make a poet black, and bid him sing!

on Today,

in 1804,                      

The New Jersey Legislature approved a law calling for "gradual" emancipation of African Americans. In so doing, New Jersey became the last Northern state to outlaw slavery.

Somebody blew up America- Amiri Baraka



14 February 2012

Où est-elle ?

He who finds a wife finds a good thing, and obtains favor from the LORD…

                                Proverbs 18:22


Cher Seigneur,

          Où est-elle ?

A Negro Love Song- Paul Laurence Dunbar

Seen my lady home las' night,

Jump back, honey, jump back.

Hel' huh han' an' sque'z it tight,

Jump back, honey, jump back.

Hyeahd huh sigh a little sigh,

Seen a light gleam f'om huh eye,

An' a smile go flittin' by —

Jump back, honey, jump back.


Hyeahd de win' blow thoo de pine,

Jump back, honey, jump back.

Mockin'-bird was singin' fine,

Jump back, honey, jump back.

An' my hea't was beatin' so,

When I reached my lady's do',

Dat I could n't ba' to go —

Jump back, honey, jump back.


Put my ahm aroun' huh wais',

Jump back, honey, jump back.

Raised huh lips an' took a tase,

Jump back, honey, jump back.

Love me, honey, love me true?

Love me well ez I love you?

An' she answe'd, "'Cose I do"—

Jump back, honey, jump back.

Black Tuesday

Remember this song?

of u


until now.

until i heard

the softness of your voice

i never heard music.

until i saw

the brightness,

the warmth of your smile

i never saw beauty.

until i felt

the heat of you next to me

i never felt needed.

until i smelled

the light floral sweetness of your perfume on your body

i never smelled passion.

until.

& until

the sweetness (until

now)       i

tasted of you

your sensuous full lips

have i kissed before you.

and until you

 i  have never

 lived.

--Alex George






Remember this?

What's on your valentines day soundtrack?

This is what's worked for me in the past.

Thank you for loving me- Chante Moore
Your Love Supreme-John Coltrane
Things that lovers do-Chante Moore & Kenny Lattimore
Come to me-Kenny Lattimore
Higher-D'Angelo
Fortunate-Maxwell
Waiting for a girl like you-Foreigner
Half on a baby- R Kelly
Damn U-Prince
How does it feel-D'angelo
Still in love with you-Al Green
Whatever-Jill Scott
The Question of U-Prince
Warmth-Janet Jackson
Someday is tonight-Janet Jackson
any Jodeci Song
Slow Love-Prince
Scandalous-Prince
Adore-Prince
Anytime, anyplace- Janet Jackson
Do me baby-Prince
Bitches Brew- Miles Davis
A Love supreme-John Coltrane
Purple Rain Prince
A House is not a home-Luther Vandross
I who have nothing-Luther Vandross
If this world were mine-Cheryl Lynn & Luther Vandross
So-Amazing-Luther Vandross
Baby it's me- Diana Ross
Lady DuJour- Johnny Gill
My,my,my- Johnny Gill
Sensitivity-Ralph Tresvant



What's on your soundtrack?

13 February 2012

Black Monday

-Zora Neale Hurston

Someone is always at my elbow reminding me that I am the granddaughter of slaves. It fails to register depression with me.
--Zora Neale Hurston

12 February 2012

R I P Whitney Houston

Black Sunday

I thought it was a joke. This couldn't be real.

But it is. Whitney Houston, and icon of the 80s, had died.
Death is inevitable, like having to pay taxes. But it doesn't mean we're supposed to expedite it, as if it can't possibly happen to us sooner rather then later, however, this was a total shock. I can't think of anything to say. She was only 48. Younger than me. May she rest in peace. God bless her family.

Black History-A Tech game changer

Thomas Jennings
Fashionistas everywhere have Jennings to thank for inventing a way to clean clothes using a dry-scouring process, what we call dry cleaning today. He received a patent for his process in 1821, a first for an African American.

Black History-A Tech game changer

Granville T Woods was such a prolific inventor, he is often called the black Thomas Edison. Woods holds more than 50 patents for such inventions as the egg incubator and a steam boiler furnace. But his most significant invention, the synchronous multiplex railway telegraph (patented in 1887), allowed railway stations to communicate with moving trains. Because dispatchers were better able to locate trains, rail accidents were significantly reduced.

11 February 2012

Black Saturday

The 1.

When you meet her you'll realize why it never worked out with  any one else.

The weekend

Black History- a Tech game changer

Patricia Bath received a patent for her cataract laserphaco probe in 1988. Her device used an innovative method of removing cataract lenses with a laser, which was more accurate than the drill-like instruments that were in common use at the time. The ophthalmologist's invention helped save the eyesight of millions and even restored sight to people who had been blind for more than 30 years.

10 February 2012

Black History-A Tech game changer

James E West
Without James E West rappers wouldn't be able to rock the mic. West, along with Gerhard M. Sessler, helped develop the electroacoustic transducer electret microphone, for which they received a patent in 1962. Their invention was acoustically accurate, lightweight and cost-effective. Ninety percent of microphones in use today -- including those in telephones, tape recorders and camcorders -- are based on their original concept.

Obama team celebrates Obama announcement 5 years ago in Springfield

(thank God it's) Black Friday


08 February 2012

Black History- A Tech game changer

Gerald A. Lawson
Anyone who owns a Playstation, Wii or Xbox should know Lawson's name. He created the first home video game system that used interchangeable cartridges, offering gamers a chance to play a variety of games and giving video game makers a way to earn profits by selling individual games, a business model that exists today. Lawson, who died last year at age 70, is just beginning to be recognized by the gaming industry for his pioneering work.