Theater
Israel blocks representatives. Ilhan Omar, Rashida Tlaib Visit after Trump’s pressure

Washington, DC – March 25: (AFP out) US President Donald J. Trump (R) and the Prime Minister of Israel Benjamin Netanyahu (L) shake their hands within the oval office of the White House on March 25, 2019 in Washington. Trump signed an order recognizing Golan Heights under Israeli territory. Netananyahu shortens his visit to Washington due to a rocket attack in Central Israel, who hurt seven people. (Photo of Michael Reynolds – swimming pool images/ghetto)
After President Donald Trump wrote on Twitter that progressive representatives of Ilhan Omar (D-Minn) and Rashida Tlaib (D-Micha) “hate Israel and the Jewish people”, calling Israel to refuse to enter the country before the planned visit, Israeli Prime Minister Benjamin Netanyahu did what he was told.
“The plan of two congresses is only damage to Israel and changing against Israel,” said Netanyahu in an announcement after the choice. “They defined the purpose of their visit as” Palestine “, not” Israel “. And unlike all democratic and republican congressmen, who have visited today, they avoided with a request with any Israeli clerk, whether in government or in opposition. “
Both Omar and much more Tlaib, which is a Palestinian-American, were open of their criticism of the occupation of Palestine and genocidal, everlasting violence, caused to the Palestinian nation.
Deputy Minister of Foreign Affairs of Israel Tzipi Hotovely also confirmed Israel’s decision on Twitter.
“The State of Israel respects the American Congress as part of a close alliance between the two countries, but it is not possible that the entrance to Israel can be permitting for those who try to damage the state of Israel, even during a visit,” said the Israeli Minister of the Interior Aryeh Deri, official authorized by the precise to make a choice to ban Omar and Tlaiba. Deri explained that he did it with the support of Netanyahu and other Israeli officials, Reports.
Rep. Ayanna Pressley (D-Mass) quickly wrote on Twitter support for Tlaib and Omar after two world leaders who merge to suppress the political freedom of couple and freedom of speech. She then issued the next statement:
“You attack certainly one of us all.
Despite this, although political dialogue after Israel’s decision refusing two seating members of the US Congress was formulated as a possible expanding split between republicans and democrats, it is vitally doubtful that this can be a spot outside the political theater.

Democrats have long been counting on Israel, including former President Barack Obama. 44. The president continued USA tradition of Banking of Israel’s constant assault on Palestiniansspecifically by transferring Israel over $ 500 million to finance Iron rocket programwhich Israel has been using since 2011.
The United States licensed, paid and provided over 670 million weapons and related equipment for Israel, including almost 500 weapons, “reports The the.
In addition, the United States Army Recently finalized Iron Dome purchase plans Weapon system.
Senator Cory Booker (D-New Jersey), currently a candidate for the Democratic President in 2020, also appeared to Israel, stating the AIPAC delegation in March: “Israel shouldn’t be political for me.
Then Paraphrase of Psalm 137: 5 In the Bible Booker he continued: “If I forget you, about Israel, I can cut my right hand.”
Senator Kamala Harris, also democratic hope for president in 2020, took the Republican side in 2017, “criticizing President Obama” “refuse to veto, devoid of, very modest and largely resolution of the UN Security Council on Israeli settlements …[which called for] Israel to stop expanding its illegal settlements on the occupied west shore, which violates the fourth Geneva Convention and a breakthrough in the International Court of Justice “, Reports.
“I think that when every organization delegitimizes Israel, we must get up and speak for Israel to be treated evenly” – Harris said during Aipac’s speech a couple of weeks later. “That is why the first resolution and sponsored as the United States senator was to combat the anti -Israeli bias in the UN and confirm that the United States is looking for a safe and balanced two -state solution.”
Sense. Bernie Sanders (D-VT) and Elizabeth Warren (D-Mass) have grow to be an increasing number of loud in criticizing the occupation of Israel and violence against Palestine, but they will not be mostly-they will not be consistent on this matter. That is why it’ll end up what, if in any respect, influence the choices of Trump and Netanyah about prohibiting Omar and Tlaib from Israel on political relations within the United States between the 2 important pages – and particularly what, if in any respect, it’ll affect the United States Union with Israel.
My money is on many “sound and fury, they mean nothing. “
In 1997 President of South Africa Nelson Mandela said it was best:
“[Freedom for the] The Palestinian nation is the most important moral problem of our time … The temptation in our situation is to talk in muffled tones about comparable to the law of Palestine people to their very own state. We could be easily encouraged to read reconciliation and honesty as a parity of meaning between justice and injustice. After reaching our own freedom, we are able to fall into the trap of washing hands with difficulties that others face.
“But we would be less than people if we did it.”
Although I would really like to imagine that this glaring demonstration of aggression and political suppression will end in counting the democratic party with its participation; It is far more likely that this moment becomes more “how you dare do it” and nothing of the substance.
And if the story serves as any tip, all the things can be good at the subsequent AIPAC conference.
Theater
Teddy Riley brings the kings and queens of the new sound of Jacek Swing to The Apollo Theater – Essence

The 12 months 2019 was for Teddy Riley in 2019 and is approaching the bang. After a 12 months of the air trumpet, which included receiving a scream from Bruno Mars in Grammys, joining Hollywood Walk of Fame 2019 and celebrating a 30 -year -old light Jacek Swing on the major stage of the Essence Festival, the entertainment guru brings some of his magic to New York. Keeping impetus for the Christmas season, Riley will culminate his annual celebration of the new milestone of Jacek Swing with not one, but two shows of All-Star congresses at the legendary Apollo Theater in New York. In addition to Riley himself, the star warehouse at the party will include the performances of Keith Potu, Blackstreet, Doug E. Fresh, Guy, Mc Lyte, Kool Moe Dee, DJ D Nice and more. The shows will happen on Sunday, December 9 at 18:00 and 21:30, and ticket prices start from $ 55. For more information and buy tickets, click HERE.
Theater
Influence of black glam on Milan Fashion Week – Essence

Getty images
The season able to wear AW25 in Milan is over. The city is synonymous with luxury, fashion and, unfortunately, an extended popularity of exclusivity in the style and cosmetics industry. While fashion could be very focused on the moments of the runway, it is simple to overlook creative forces behind them. The whole village of artists, stylists and technicians works in tandem to revive the designer’s vision. Without the correct beauty direction, even probably the most beautifully crafted clothes can fall flat.
Imagine that you just are sitting in the primary place on a really anticipated program. The darkened, musical lights of Crescendos and the primary model enters the runway. But something is turned off – their face is unintentionally naked, their hair is untouched. Magic is lost immediately. In other words, Beauty is an indispensable element of telling stories that shapes the way in which the gathering is perceived and remembered. And yet, despite the Milan Fashion Week, by which he organizes 23 essential catwalk shows this season, only two black lichers we all know Helmed teams: The Legendary Pat McGrath, who organized makeup for Versace, and Virgie Pinto Moreirawho led the direction of hair for Ferragamo.
Their work was not only making a look – it was about giving a tone, raising the gathering and proveing why the range of beauty leadership is crucial. Milan’s resistance to turning behind the scenes is nothing latest. Their presence on the catwalk in Milan was a triumph, but additionally served as a transparent reminder of the work to be done. Two black requests within the highlight from 23 essential programs aren’t enough. Their talent deserves celebration, but their rarity in these roles emphasizes the industry proof against real integration.
Below is a deeper view of the work of two Glam experts through the AW25 Week Medilan Fashion Week season.
AW25 Versace and Pat McGRath
Makeup of the AW25 Versace program was a master class in balance and contrast, and Pat McGrath led a charge. Focusing? Brave, a vampire lip that emanated power, seduction and rise up. McGrath understood the duty, ensuring that the lip of the statement didn’t overwhelm, but as a substitute harmonized without effort with the remainder of the wonder.
To balance deep, dramatic plum shades on the lips, she created an ethereal, light complexion – the skin that looked like lunar law. Radian was not only a glow; Added the softness and atmosphere of trust. Carved cheekbones, eyes defined by a subtle, iridescent lavender eye shadow, and soft eyebrows allowed the lips to be central, maintaining general elegance, which seemed modern and complex.
The result was the right complement to the AW25 Donatella Versace collection, which celebrated old and latest – with a mix of nostalgic scale, tailoring, sensual silhouettes and punk accents. When the garments passed the border between strength and sensuality, McGratha did the identical thing – causing an undeniable aura of self -confidence to the runway with a bit of the rebellious spirit embodimenting the subject “Superhereos Versace”.
AW25 Ferragamo and Virgie Pinto Moreira
“Bloom in motion. Statement in red. “Creative director Ferragamo, Maximilian Davis, drew inspiration from the German expressionist dance movement from the start of the twentieth century, known for his emotional story and fluidity. The collection, with an emphasis on grace, discipline and strict expression, required the looks of hair, which seemed equally purposeful – known but powerful.
Pinto Moreira assured that the direction of the hair hit the right balance: minimal but influential. The hair of each model was meticulously rejected back and stayed away from the face, allowing them to be natural to a central place – attracting all their eyes to the clothing. It was the equivalent of makeup without makeup, but within the case of hair-so much of polished with the air of refined simplicity.
Style differences added the depth of general aesthetics, remaining a faithful motif. Some models wore sharp middle parts with cascading hair in soft, but blunt, liquid lines, subtly nodding head against the controlled but expressive nature of Tanzteter. Others wore elegant braids, strengthening the sense of structure and elegance. Meanwhile, models with natural 4C textures have been proud to present each band of their beautiful bends and coils, a quiet but powerful statement within the industry, which is historically natural black hair.
Together, these elections created a coherent but diverse narrative of hair – one which reflected the spirit of movement, identity and craftsmanship embedded in Davis’s vision for the AW25 Ferragamo collection.
Theater
Ruth E. Carter about the archiving of her black kinematic heritage – essence

Thanks to the kindness of SCAD
The past to the present: Fashion generations is a brand new series of women’s stories women who deal with interference, who made a big contribution to fashion.
Interview with Ruth E. Carter appears to be a master class about the black material history. Her memory of the costumes of some of the most vital cultural movies presents a transparent picture of her heritage, imagination and dedication to Crafts. Sharing this heritage with the audience is her travel exhibition, Ruth E. Carter: AfroTumism in costume DesignArriving at the Children’s Museum in Indianapolis on March 22.
Carter’s profession is coloured with devoted self -education and ingenuity. Learning essential nuances between the aesthetic distance in the theater or the “texture subtlety” enlarged by a movie film led her to define a story of a story that sees no restrictions on creation. Regardless of whether it means spending countless hours in the study in library collections, or transforming the pier Imports Placed in the warrior’s head, its dedication to telling stories as a way of cultural behavior is undeniable.
The importance of archiving this work is a fact he feels about. Together with its early beginnings resulting from the Carter theater, she saw archiving costumes as the next part of the work. Because theatrical budgets were often limited, having a set of previous costumes that may be derived, and re -image was crucial.

“After entering the film industry in 1987, I thought:” Well, we created so many costumes, there are lots of things that might be useful when [Spike Lee] He returns to make one other movie, “he starts. “At that point he was burning, he made a brand new film yearly. So I might approve things in the basement of 40 acres and mule, his production company. “After repeatedly finding that the clothes were dropped from one or another reason, she realized:” Maybe I am unable to save every part we do in the theater, but I can save things which are essential for the film. ”
Carter explains how no one talked about the design of costumes on this era of movies, apart from Lee, remembering their name and work in interviews, and as well as, nobody thought about talking to the designers themselves. Today, because of his journey, Ruth E. Carter educates a brand new generation on the cultural impact of design.
“Now, by me, collecting important songs from my films for years, I gathered this collection of the history of black cinema. The conversation came to the fore and we are able to talk about the process of being a costume designer. “Thanks to this process, he proudly shows his life work at the Children’s Museum with the intention of inspiring young people to find art and costumes as an actual profession path.
“It took me a long time to realize this exhibition,” explains the curatorial process. For the first time she began after the release in 2018 – she became the first black woman who won the Academy Award for the best costume project the following 12 months. From her childhood sewing machine and early sketches in college, to closer take a look at the ZOOT and Turkana-Tribe suits inspired by beads, the result was a comprehensive story with a full circumference.

“I chose things for this exhibition, which would not only inspire artists and show a costume design, but also gave people historical education.” This includes the dress she wore to receive her historical Oscar award.
The companion of her work inside Indianapolis displayHe is the work of the visual artist of Israel Solomon. Carter explains the overlapping of two media, for instance through the theory of colours and a job that every time plays: “The project of visual art and costumes tell stories that shape cultural narrative”, shares. “[They] Celebrate identity and heritage in a unique and powerful way. “
Seeing how all this work connects, the deeply approving Carter. “I see the passion that I took with me to each of these films.” She talks about the wisdom she gained at every project and the way the use of “anachronisms” allowed her to be historically accurate when moving a conversation forward. After she learned about the significant history of Indigo and was capable of tell the story of the historic wreck of the ship through the fruits of her delivery, ensuring an in depth history of black culture and survival through the cinema.

“I am very intended in my work, and when I see it all together, sometimes it is overwhelming. It’s a joy; Celebrating who I am and what I could do for many years of my career and how influence it is for people. ”
He returns to the thought of parents bringing their inquisitive and inventive children to the exhibition and the way transformational may be for a beginner mind. This is especially essential because artistic education and programs lose financing. As a toddler, Carter received creative sales points by supporting her local people, supported for her by a single mother. She believes that access to the community in this manner was shaped by her future and private development, and thus enriching her believes that children find obligatory safety networks and extracurricular possibilities. Its purpose is to encourage this cultural exploration and community through a narrative, which she builds with every film, and strengthen this curiosity through the exhibition.
On this subject, he emphasizes Afrofuturism, an idea that he strongly uses in his work. Carter defines Afrofuturism as “the unification of culture and technology in one space.” This union shows the way black communities have historically imagined possibilities outside our oppression.
He looks more clearly at Afrofuturistic stylization as a option to the shape of a collective identity rooted in pride and immunity. Take, for instance, the challenge of the throne scene, wherein a number of traditional clothing reinforced with futuristic technology appeared. “For me [about] Mixing traditions and innovations in creating projects that feel the past, while imagining a bold and vibrant future. ”
For Carter, Afrofuturism is just as obligatory for Earth, Winds, Fire and Parliament-Funkadelica as to speed up Lee, which shapes its world switching on through the film. He hopes that they testify to this exhibition, young children can feel moved to play clothes, conjure up the character and shape their paths of life through ingenious lenses.
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