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In the studio: House Of Aama

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Isaiah from Texas

In Los Angeles, Akua Shabaka and her mother Rebecca Henry take part in a video call. They are similarly illuminated by light from the window, although they connect from different locations: Henry sits in his studio, while Shabaka appears on screen from a comfy alcove. They have matching sets of warm eyes. The two have been skilled partners in the development of their heritage brand, House of Aama, for nearly 10 years. Beyond their familial bond, the duo shares purposefulness of their sartorial practice – they create materiality for undervalued Americana.

House of Aama is Henry and Shabaka’s lifestyle storytelling brand; her fall/winter 2024 collection was shown in February during New York Fashion Week. During the celebrated show, designers and co-creative directors unveiled greater than 30 recent creations in an intimate presentation at a downtown jazz club honoring their Los Angeles and hometown roots.

“Over the last two collections, we have really entered the world of my paternal heritage,” Shabaka reflects. She is referring to her father and Henry’s late husband, Jamaiel Shabaka – a prolific avant-jazz horn player who died in 2021. This latest period in the history of the House of Aama may be very much rooted in the family heritage of arts and crafts, and even sheds light on the fusionist Pan-African ethos that brought Henry and her husband together.

, released in 1988, is considered one of the elder Shabaka’s most continuously referenced works. The highly improvised album combines traditional woodwind jazz musicality with Yoruba and other Afro-Cuban sounds, transforming an already culturally reflective genre into something much more dynamic. This source music reflects the textiles that inspired mother and daughter to take a cohesive approach to design. “I have always been someone who combined materials – new and vintage, as well as heirlooms with things I made myself,” says Henry, explaining how she continued the cycle of appreciating the family’s artistic heritage through clothes and their construction.

In the studio: House Of Aama
Isaiah from Texas

House of Aama, especially in its earliest collections, drew on the post-war history of the Henry family and mystical tales of the southern United States. “The association with crafts comes from the fact that both of my parents are Southerners,” Henry says. “My father is from South Carolina, my mother is from Louisiana, and I was in those places a lot of the time as a child. My grandfather had a farm in Shreveport, Louisiana, and my cousins ​​from Detroit would meet us there every summer.” During these childhood exchanges, Henry observed her family’s sewing traditions, watching her mother and aunts go to fabric stores and hand-create their summer wardrobes. “It was important that you could express yourself with something you created yourself,” he says.

This practical legacy is tied to Henry’s understanding of southernness and black culture on a visceral level. She carried it together with her as she grew up and later settled in Los Angeles, where she practiced law for a few years and raised her daughter. As the younger Shabaka got here of age, she clung closely to her maternal lineage in Louisiana and coastal Carolina, along together with her father’s Los Angeles and Caribbean roots. Jamaiel Shabaka’s skilled journey as a jazz artist, DJ and educator has been his own cultural memory practice, engaging a variety of African-Cuban musical traditions across multiple instruments. A longtime Los Angeles family, the Shabakas retain their ties to the Compton, Watts and Long Beach communities to this present day.

In the studio: House Of Aama
Isaiah from Texas

Inspired by the creative influence of her parents, Shabaka began her own work, delving into physical and oratorical archives reflecting her heritage. Recently, her family’s participation in the creation of a novel piece of jazz history in Los Angeles became the inspiration from which the House of Aama collection for fall/winter 2024 was born.

Tasked with finding recent ways to attach with heritage, Henry and Shabaka followed the stories that got here to them organically – including the thread of Jamaiel Shabaka’s walking patterns in Leimert Park and Central Avenue. After inheriting and exploring her father’s archives, Shabaka discovered the depth of a neighborhood art movement that has global resonance – not only in the music world, but additionally in her and her mother’s work today. “We landed on the Free Jazz movement,” Henry says. “The Ornette Coleman and Billy Higgins that I knew were the stories that were presented to us, so we really took stock of everything and focused on that particular piece of jazz history in Los Angeles.”

In the studio: House Of Aama
Isaiah from Texas

The Free Jazz movement emerged in the avant-garde Nineteen Fifties and developed right into a dynamic mental revolution at the end of the twentieth century. Closely tied to the anti-war and Black Power consciousness of the time, this musical reframing celebrated collective improvisation and non-traditional forms to push the boundaries of what was considered jazz. Many of the period’s luminaries, who were themselves friends and mentors of the late Mr. Shabaka, formed a community during jam sessions, rehearsals and performances in the historic cultural centers of Black Los Angeles in the Watts and Leimert Park neighborhoods.

“Between the previous collection and the current collection, I spent a lot of time talking to many of my family members who were very active at the time,” Shabaka recalls. She notes how her aunts made her aware of her family’s connections to this prolific movement, and thru the accompanying study of archival photos, she was capable of imagine what this era meant to her parents’ past and her artistic present. “Discovering music and understanding the spirituality of it was really interesting – understanding the desire at the time for Black people to really look at themselves beyond their current situation, and using music as a way to achieve that,” he says. By allowing herself to be guided by history, she inadvertently tapped into the same creative expansion that had guided her paternal family for generations.

In the studio: House Of Aama
Isaiah from Texas

During the fall/winter 2024 presentation, titled “Sun Records,” viewers were treated to quite a lot of shades that reflect the light and heat of this era. Kaftans and semi-sheer maxi dresses moved along the sidewalk, immediately brightening the dimly lit venue. These pieces, in various shades of gold, orange and royal blue, energized everyone present on that dreary February day. For some time, the energy of Nineteen Seventies Los Angeles was in the basement of New York.

House of Aama, as a narrative-oriented label, creates collections based on the consistency of the narrative from previous seasons. The sources of inspiration – family history and the journeys of Black Americans – are vast and at all times ready for a brand new look, as evidenced by subsequent brand launches. The 2017 release “Bloodroot” spawned one other, after which one other, line evoking the poetry of African-American folklore: incl. “Salt Water” for spring/summer 2022 and the “Parable” capsule for 2023. In each version, Henry and Shabaka discover a historical place of kinship and reimagine it with a surreal, contemporary twist. In 2021, the couple arrived at “Camp Aama,” a reimagining of a sun-drenched community gathering place with a classic summer camp aesthetic. It is an ode to Black freedom, set in a mythical resort, that emerges from the latest collection and can likely be visually developed in future clothing releases.

In the studio: House Of Aama
Isaiah from Texas

The work of designers constructing a socio-political narrative through clothing may be in comparison with the work of Black femme visual artists working in other media. Julie Dash’s groundbreaking film similarly uses fashion and adornment as modes of subversive cultural identity, dressing historically inspired characters in their very own specific context of black heritage in the South Carolina Sea Islands. This screen world, much like the one which viewers enter in House of Aama presentations, reconciles multi-layered stories with almost utopian ideals of identity, memory and tradition. Many of the pieces capture the haunting charm and poetic melancholy of a past when generations of black families were often at home and least protected.

In the 2017 “Bloodroot” collection, Edwardian blouses with high, lace-trimmed necklines and delicate satin buttons check with the neo-Gothic image of the black south. It is historical in nature, but thematically current. The collection was released in a 12 months of racial tensions in America, heightened by the inflammatory whistles of the then-president. The same fall that the collection was released, a crowd of white nationalists fearing the lie of the “Great Replacement” gathered at the Confederate monument in Charlottesville, Virginia, singing a version of “Dixie” and chanting “Blood and Soil.” At the same time, the focused mother and daughter created their works with no considered hatred, as a substitute embodying the spirit of cultural triumph that the antagonists feared most.

In the studio: House Of Aama
Isaiah from Texas

In an interview Shabaka gave to the now-defunct British publication for girls and non-binary people of color, she expressed the relevance and thematic focus of the work, which was widely praised for its liberal use of color and seamless mix of traditional craftsmanship with contemporary aesthetics. “Blood root is a rare herb used by ancient magicians and root makers as a powerful guardian of the family,” Niellah Arboine explained to the author.

Like jazz itself, Rebecca Henry, Akua Shabaka, and House of Aama are children of the same meditation on expansive Black connectivity, pursuing a body of labor that may withstand an unknown future. The brand’s pieces offer insight into Shabaka and Henry’s family tree and the designers’ countercultural engagement with African American aesthetic practice and American heritage branding. As for the future, Shabaka and Henry proceed to speak with one another, expressing intentions and vision in a way that only a mother and daughter can truly understand. As designers, each of them follows in the footsteps of a deep family mission, similar to their moms and dads before them.

This article was originally published on : www.essence.com
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Health and Wellness

Jury awarded $310 million to parents of teenager who died after falling on a ride at Florida amusement park – Essence

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Sun Sentinel/Getty Images

The family of Tire Sampson, the 14-yr-old who tragically died on an amusement park ride in Orlando, Florida, in 2022, has been awarded $310 million in a civil lawsuit.

Tire, who was visiting ICON Park along with his family on March 24, 2022, fell from the FreeFall drop tower. Although he was taken to a nearby hospital, he didn’t survive his injuries.

Now, greater than two years later, a jury has held the vehicle manufacturer, Austria-based Funtime Handels, responsible for the accident and awarded the Tire family $310 million. According to reports from local news stations WFTV AND KSDKthe jury reached its verdict after about an hour of deliberation.

Tyre’s parents will each receive $155 million, according to attorney spokesman Michael Haggard.

Attorneys Ben Crump and Natalie Jackson, who represented Tyre’s family, shared their thoughts on this landmark decision via X (formerly Twitter). “This ruling is a step forward in holding corporations accountable for the safety of their products,” they said in a statement.

Lawyers stressed that Tyre’s death was attributable to “gross negligence and a failure to put safety before profits.” They added that the ride’s manufacturer had “neglected its duty to protect passengers” and that the substantial award ensured it could “face the consequences of its decisions.”

Crump and Jackson said they hope the result will encourage change throughout the theme park industry. “We hope this will spur the entire industry to enforce more stringent safety measures,” they said. “Tire heritage will provide a safer future for drivers around the world.”

An investigation previously found that Tyre’s harness was locked through the descent, but he dislodged from his seat through the 430-foot fall when the magnets engaged. Tire’s death was ruled the result of “multiple injuries and trauma.”

ICON Park said at the time that it could “fully cooperate” with the authorities.

This article was originally published on : www.essence.com
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Tireless HIV/AIDS advocate A. Cornelius Baker dies

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HIV/AIDS Advocate, A. Cornelius Baker


A. Cornelius Baker, a tireless advocate of HIV and AIDS testing, research and vaccination, died Nov. 8 at his home in Washington, D.C., of hypertensive, atherosclerotic heart problems, in response to his partner, Gregory Nevins.

As previously reported, Baker was an early supporter for people living with HIV and AIDS within the Nineteen Eighties, when misinformation and fear-mongering in regards to the disease were rampant.

According to Douglas M. Brooks, director of the Office of National AIDS Policy under President Obama, it was Baker’s Christian faith that guided him toward compassion for others.

“He was very kind, very warm and inclusive – his circles, both professional and personal, were the most diverse I have ever seen, and he was guided by his Christian values,” Brooks told the outlet. “His ferocity was on display when people were marginalized, rejected or forgotten.”

In 1995, when he was executive director of the National AIDS Association, Baker pushed for June 27 to be designated National HIV Testing Day.

In 2012, he later wrote on the web site of the Global Health Advisor for which he was a technical advisor that: “These efforts were intended to help reduce the stigma associated with HIV testing and normalize it as part of regular screening.”

https://twitter.com/NBJContheMove/status/1856725113967632663?s=19

Baker also feared that men like himself, black gay men, and other men from marginalized communities were disproportionately affected by HIV and AIDS.

Baker pressured the Clinton administration to incorporate black and Latino people in clinical drug trials, and in 1994 he pointedly told the Clinton administration that he was bored with hearing guarantees but seeing no motion.

According to Lambda Legal CEO Kevin Jennings, yes that daring attitude that defines Baker’s legacy in the world of ​​HIV/AIDS promotion.

“Cornelius was a legendary leader in the fight for equality for LGBTQ+ people and all people living with HIV,” Jennings said in a press release. “In the more than twenty years that I knew him, I was continually impressed not only by how effective he was as a leader, but also by how he managed to strike the balance between being fierce and kind at the same time. His loss is devastating.”

Jennings continued: “Cornelius’ leadership can’t be overstated. For many years, he was one in all the nation’s leading HIV/AIDS warriors, working locally, nationally and internationally. No matter where he went, he proudly supported the HIV/AIDS community from the Nineteen Eighties until his death, serving in various positions including the Department of Health and Human Services, the National Association of Persons with Disabilities AIDS, and the Whitman-Walker Clinic . Jennings explained.

Jennings concluded: “His career also included several honors, including being the first recipient of the American Foundation for AIDS Research Foundation’s organization-building Courage Award. Our communities have lost a pillar in Cornelius, and as we mourn his death, we will be forever grateful for his decades of service to the community.”

Kaye Hayes, deputy assistant secretary for communicable diseases and director of the Office of Infectious Diseases and HIV/AIDS Policy, in her comment about his legacy, she called Baker “the North Star.”.

“It is difficult to overstate the impact his loss had on public health, the HIV/AIDS community or the place he held in my heart personally,” Hayes told Hiv.gov. “He was pushing us, charging us, pulling us, pushing us. With his unwavering commitment to the HIV movement, he represented the north star, constructing coalitions across sectors and dealing with leaders across the political spectrum to deal with health disparities and advocate for access to HIV treatment and look after all. He said, “The work isn’t done, the charge is still there, move on – you know what you have to do.” It’s in my ear and in my heart in the case of this job.

Hayes added: “His death is a significant loss to the public health community and to the many others who benefited from Cornelius’ vigilance. His legacy will continue to inspire and motivate us all.”

Baker is survived by his mother, Shirley Baker; his partner Nevins, who can be senior counsel at Lambda Legal; his sisters Chandrika Baker, Nadine Wallace and Yavodka Bishop; in addition to his two brothers, Kareem and Roosevelt Dowdell; along with the larger HIV/AIDS advocacy community.


This article was originally published on : www.blackenterprise.com
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Health and Wellness

Bovaer is added to cow feed to reduce methane emissions. Does it pass into milk and meat? And is it harmful to humans?

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There are growing concerns in regards to the use of feed supplements, Bowar 10to reduce methane production in cows.

Bovaer 10 consists of silicon dioxide (mainly sand), propylene glycol (food stabilizer approved by Food Safety Australia New Zealand) and lively substance 3-nitrooxypropanol (3-NOP).

There has been an enormous amount of misinformation in regards to the safety of 3-NOP, with some milk from herds fed this additive being labeled “Frankenmilk”. Others feared it could get to humans through beef.

The most significant thing is that 3-NOP is secure. Let’s clear up some major misconceptions.

Why do we want to limit methane production?

In our attempts to limit global warming, we’ve placed the best emphasis on CO₂ because the major man-made greenhouse gas. But methane is also a greenhouse gas, and although we produce less of it, it is: a much stronger greenhouse gas than CO₂.

Agriculture is the largest a man-made source of methane. As cattle herds expand to meet our growing demand for meat and milk, reducing methane production from cows is a vital way to reduce greenhouse gas emissions.

There are several ways to do that. Stopping bacteria within the stomachs of cows that produce methane one approach is to produce methane.

The methane produced by cows and sheep doesn’t come from the animals themselves, but from the microbes living of their digestive systems. 3-NO stop the enzymes that perform the last step of methane synthesis in these microorganisms.

3-NOP is not the one compound tested as a feed additive. Australian product based on seaweed, Rumin8for instance, it is also in development. Saponins, soap-like chemicals present in plants, and essential oils as well has been examined.

However, 3-NOP is currently one of the popular effective treatments.

Nitrooxypropanol structure: red balls are oxygen, gray carbon, blue nitrogen and white hydrogen.
PubChem

But is not it poison?

There are concerns on social media that Bovaer is “poisoning our food.”

But, as we are saying in toxicology, it’s the dose that makes the poison. For example, arsenic is deadly 2–20 milligrams per kilogram of body weight.

In contrast, 3-NOP was not lethal on the doses utilized in safety studies, up to 600 mg 3-NOP per kg body weight. At a dose of 100 mg per kg body weight in rats, it didn’t cause any adversarial effects.

What about reproductive issues?

The effect of 3-NOP on the reproductive organs has generated numerous commentary.

Studies in rats and cows showed that doses of 300–500 mg per kg body weight caused: contraction of the ovaries and testicles.

In comparison, to achieve the identical exposure in humans, a 70 kg human would want to eat 21–35 grams (about 2 tablespoons) of pure 3-NOP every day for a lot of weeks to see this effect.

No human will likely be exposed to this amount because 3-NOP doesn’t pass into milk – is fully metabolized within the cow’s intestines.

No cow will likely be exposed to these levels either.

The cow licks itself
Cows will not be exposed to levels tested on animals in laboratory studies.
Ground photo/Shutterstock

What about cancer?

3-NOP is not genotoxic or mutagenicwhich implies it cannot damage DNA. Thus, the results of 3-NOP are dose-limited, meaning that small doses will not be harmful, while very high doses are (unlike radiation where there is no secure dose).

Scientists found that at a dose of 300 mg per kilogram of body weight benign tumors of the small intestine of female ratsbut not male rats, after 2 years of every day consumption. At a dose of 100 mg 3-NOP per kg body weight, no tumors were observed.

Cows eat lower than 2 grams of Bovaer 10 per day (of which only 10% or 0.2 grams is 3-NOP). This is about 1,000 times lower than the appropriate every day intake 1 mg 3-NOP per kg body weight per day for a cow weighing 450 kg.

This level of consumption will likely be not the result in cancer or any of them other adversarial effects.

So how much are people exposed to?

Milk and meat consumers will likely be exposed to zero 3-NOP. 3-NOP doesn’t penetrate milk and meat: is completely metabolized within the cow’s intestines.

Farmers could also be exposed to small amounts of the feed additive, and industrial employees producing 3-NOP will potentially be exposed to larger amounts. Farmers and industrial employees already wear personal protective equipment to reduce exposure to other agricultural chemicals – and it is advisable to do that with Bovear 10 as well.

Milk
3-NOP doesn’t penetrate milk and meat.
Shutterstock

How widely has it been tested?

3-NOP has been in development for 15 years and has been subject to multiple reviews by European Food Safety Authority, UK Food Safety Authority AND others.

It has been extensively tested over months of exposure to cattle and has produced no unintended effects. Some studies actually say so improves the standard of milk and meat.

Bovaer was approved for use in dairy cattle by the European Union from 2022 and Japan in 2024. It is also utilized in many other countries, including: in beef products, amongst others Australia.

A really small amount of 3-NOP enters the environment (lower than 0.2% of the dose taken), no accumulates and is easily decomposed subsequently, it doesn’t pose a threat to the environment.

Since humans will not be exposed to 3-NOP through milk and meat, long-term exposure is not an issue.

What does Bill Gates have to do with this?

Bill Gates has invested in a distinct feed processing method for methane, Australian seaweed-based Rumin8. But he has nothing to do with Bovaer 10.

The Bill & Melinda Gates Foundation awarded research grants to the corporate producing 3-NOP for malaria control researchnot for 3-NOP.

The bottom line is that adding 3-NOP to animal feed doesn’t pose any risk to consumers, animals or the environment.

This article was originally published on : theconversation.com
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