Author: tourist_yp6g7u

There’s a reason the phrase “King Cotton” exists. According to Historian Sven Beckert in a 2014 article for The Atlantic, by the dawn of the Civil War, cotton production by enslaved people in America “by multiple measures—the sheer numbers employed, the value of output, profitability—the cotton empire had no parallel.” He went on to say, “In 1862, fully 20 million people worldwide…were involved in the cultivation of cotton or the production of cotton cloth…one-tenth of all British capital was invested in it, and close to one-half of all exports consisted of cotton yarn and cloth. Whole regions of Europe and the United States had come to depend on a predictable supply of cheap cotton.” In light of this and in light of the numerous films made about slavery, it is interesting that, blaxploitation comedy Cotton Comes To Harlem notwithstanding, no one has created a serious vehicle with the commodity of cotton at its center—until now.

Last week the song cycle (a group of songs that are designed to be performed together that usually have a theme but not a traditional plot) called “COTTON” was performed at the 92nd Street Y. Starring opera icon Denyce Graves (Carmen, Samson et Dalila) and Drama Desk nominee Justin Austin (Hamlet, Fire Shut Up in My Bones), the production was inspired by images shot by celebrated photographer, painter, printmaker, and lithographer John Dowell, whose artwork is represented in the permanent collections of over 70 museum and public collections.

Dowell’s haunting images of South Carolina cotton fields captured in his 2018 exhibit “Cotton: The Soft, Dangerous Beauty of the Past,” loom over the entire production. The work was composed by the prolific Damien Geter and performed by Graves with exciting rising star baritone Justin Austin, with original poems by a number of contemporary poets.

Taking place in the wood-paneled Kaufmann Concert Hall, the program was a multidisciplinary display of video, still images, and live voice. There was live piano accompaniment by Laura Ward, who also co-founded Lyric Fest, who originally commissioned the production. The program began with a John Dowell voiceover prologue, along with a carousel of his images projected onto a triptych screen made of a grayish mesh that encompassed the entire length of the stage, and almost the entire height. He discusses his relationship with the images he shot, his narration often eliciting laughter from the packed audience.

RELATED: NY born & bred opera singer Justin Austin shines in ‘COTTON’ at 92Y

Following Dowell was a succession of poets performing work they created in response to his photographs: Nikki Giovanni, Marc Bamuthi Joseph, Afaa Michael Weaver, Lauren Alleyne, Charlotte Blake Alston, Glenis Redmond, Alora Young, and Trapeta Mayson were performed against the backdrop of Dowell’s stunning imagery, many of them overlaid with, or overlaying, other images such as contemporary urban landscapes, abstract images, or woodcut illustrations of Black women apparently from the antebellum period.

These images of the women outfitted in white dresses and head wraps gave them an angelic, ephemeral appearance that evoked an inherent humanity, heroism, femininity, and, of course, resilience. They are similar in technique to the work of Elizabeth Catlett though less “grounded” and more airy and ethereal in feel. Video was paused at the conclusion of each poem and Graves and Austin took turns following with a performance in song.

There was an interesting juxtaposition between the performances of the poets, Graves, and Austin. The poets were recorded performing in everyday clothing, infusing their performances with rhythms, beats, and gesticulations of jazz, R&B, hip-hop, and other forms associated with spoken word poetry. After each poet’s performance, the videos were poised so Austin and Graves, outfitted in formal suits (she in all white, and he in all black), performed using the same text as their librettos, bathing their words in a delicate, determined, soaring spirituality. One of the recurring images across different poems is a street sign for Wall St. Of course Wall Street was once the site of a slave market. But the image, overlayed by images of cotton, directly connects the importance of enslaved labor with the modern world economy and the wealth and economic domination of cities like New York and nations like the U.S. and England. Though cotton is a ready metonym for slavery and all its horrors, what is often not connected is the astronomical economic value, and thus, global power, attached to the labor itself, which Dowell does in his photography and by extension, what the “COTTON” production reminds us of as well.

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With “Mary Jane,” Amy Herzog has written one of the most moving plays you will see on Broadway this season. Playing at the Samuel J. Friedman Theatre (W. 47th Stree), this Manhattan Theatre Club drama beautifully, tenderly, and powerfully reveals the trauma that women can endure when they have severely ill children. 

Imagine if your child was unable to speak to you, unable to sit up, or had to be attached to medical equipment while in their stroller. Imagine needing nurses in your home to take care of your child and not being able to have a “normal daily existence” out in the world, at a job or anywhere else, because you are always tending to your children at home or in the hospital. That is the life that Mary Jane has known for two years with her son Alex.

Rachel McAdams is dynamic in this intense role. She handles this character’s pain with a sense of respect and dignity, and beautifully embodies a mother’s love for and dedication to her sick child. You also see that there is a community of families out there who try to help one another. 

This play will touch you on many levels, through the sheer trauma that these women go through and their steadfastness when it comes to helping and advocating for their children. They see the beauty in their babies, but also admit to the toll they feel on their lives.

McAdams is part of a cast of five women who are versatile, distinct, and touching as they each play dual roles. April Matthis, as both Alex’s nurse Sherry and Dr. Toros, plays these characters with marvelous care, concern, and heart. Brenda Wehle is memorable as both Ruthie, the building super who has a great deal of empathy for Mary Jane, and Tenkei, a nun at the hospital who comforts Mary Jane while Alex is in surgery. Lily Santiago is engrossing as Amelia and Kat. Amelia is Sherry’s niece, a college student who is shy, sensitive, and caring. In the role of Kat, a music therapist, she is gentle and kind as she plays music to soothe Alex after a procedure.

Susan Pourfar is incredibly touching in her roles as Brianna and Chaya, both mothers of children who are experiencing severe illnesses. Brianna is new to this life and receives detailed tips from Mary Jane about how to get assistance and benefits for her son Seth. As Chaya, she is a mother of seven children, with one daughter who is severely ill and causes her to be in the hospital for months at a time.  

Direction by Anne Kaufmann is superb. You will know you have experienced something that is, sadly, a reality for many parents. The set design by Lael Jellinek is fantastic and detailed. Costume design by Brenda Abbandandolo, lighting design by Ben Stanton, and sound design by Leah Gelpe add to the intensity of this truly stunning play. 

“Mary Jane” is touching, moving, deep theater. For more info, visit www.manhattantheatreclub.com.

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Amid the daily news from Gaza and Palestine and the lives lost, there is finally some good news for Palestinians in the U.S. covered by Deferred Enforced Departure (DED).

The U.S. Citizenship and Immigration Services (USCIS) recently posted a Federal Register notice establishing procedures for DED Palestinians to apply for Employment Authorization Documents (EADs), aka work permits. Those work permits will be valid through Aug. 13, 2025. 

The April 15 notice describes eligible Palestinians and acceptable documentation, such as a Palestinian Authority passport or identification card. 

USCIS has reiterated that “it adjudicates each EAD application fairly, humanely, and efficiently on a case-by-case basis to determine if they meet all standards and eligibility criteria.” Over the past year, USCIS has reduced EAD processing times overall and streamlined adjudication processing.

The news comes almost two months after President Biden issued a memorandum about DED for Palestinians on Feb. 14, 2024, deferring the removal of certain Palestinians present in the United States at the time of the announcement through Aug. 13, 2025. The memorandum directed the Department of Homeland Security to take appropriate measures to authorize employment for Palestinians eligible for DED and to consider suspending certain regulatory requirements for Palestinian F-1 non-immigrant students. 

There is no application for DED. Palestinians are covered under DED based on the terms described in the president’s directive. Eligible Palestinians can apply for an EAD by filing Form I-765, Application for Employment Authorization with USCIS. The cost is $470 if filing online and $520 for a paper filing. 

Individuals who wish to travel outside of the United States based on DED must file Form I-131, Application for Travel Document with the USCIS. The cost is $630.

Remember that when submitting applications, photos must be “unmounted” and “unretouched.” Unretouched means the photos must not be edited or digitally enhanced. The submission of any mounted or retouched images will delay the processing of an application and may prompt USCIS to require an applicant to appear at an Applicant Support Center to verify their identity.

EAD cards will be mailed via U.S. Postal Service (USPS) Priority Mail. The time it will take to receive an EAD card may vary, depending on USPS delivery times. Allow a total of 30 days from approval before inquiring with USCIS and use the Case Status Online and your USPS tracking number for EAD card delivery time. Anyone who has not received their EAD card within this time frame should visit the e-Request – Self Service Tools at uscis.gov for instructions about how to submit an inquiry.

Palestinians who entered the United States after Feb. 14, 2024, are not eligible for DED and therefore cannot apply for an EAD. 

Meanwhile, the Biden administration threw another bone to Palestinian students: Palestinians on F-1 non-immigrant student visas may now also request employment authorization, work an increased number of hours while school is in session, and reduce their courseload while continuing to maintain F-1 status through the DED period.  

Felicia J. Persaud is the publisher of NewsAmericasNow.com, a daily news outlet focusing on Black immigrant issues.

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Joseph J. Thomas, a trailblazing retail executive, has died at the age of 85 at NYU Langone Hospital.

A viewing and funeral mass took place on Tuesday, April 23 starting at 9:00 a.m. at Cathedral Basilica of St. James (250 Cathedral Place, Brooklyn). In lieu of flowers a donation can be made to the J.J. Thomas Memorial Scholarship Fund, High School of Fashion, 225 W. 24th St. NYC 10011.

Mr. Thomas worked for Bloomingdale’s for 43 years. He was a buyer,  before rising to become the store’s operating vice president for diversity and community service.
Mr. Thomas was Bloomingdale’s first Black buyer and the company’s first Black corporate, operating vice president.

He supported the careers of numerous Black professionals at Bloomingdale’s, in the industry at large and as a board member and president of the Black Retail Action Group (BRAG), the oldest active retail and fashion organization devoted to Black, Indigenous, People of Color (BIPOC) equity and inclusion

This year, the High School of Fashion Industries in New York, renamed its annual career fair the JJ Thomas Career Day in recognition of his impact and devotion to the school. The Black Retail Action Group named an award after him: The JJ Thomas Innovators Award for new businesses.

Born April 26, 1938 in Opelousas, Louisiana, Mr. Thomas served in the Army before joining Bloomingdale’s in 1965 at the height of the Civil Rights Movement.

Five years later, he joined BRAG and was appointed to the board of directors in 1974. He became president and served until 1995. During his tenure, the organization raised thousands of dollars from retailers, and awarded college scholarships to hundreds of Black students from around the country.                                                                                 

In 2005, he wed Halcyone Bullen.

Mr. Thomas remained with Bloomingdale’s until his retirement in 2008 and retired from the BRAG board two years later, moving to the advisory board.

He was never without his camera. With it, he captured a lot of the history and memories of diversity groundbreakers in the industry. Many of his photographs date back to the ‘70s—a time when African Americans were just starting to be included in the industry at management and executive levels.

Mr. Thomas lived in Brooklyn Heights, New York. He is survived by his wife, stepson Jamal Lanham, sister Elizabeth Lazard, and a host of nieces and nephews.

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Masjid Malcolm Slabazz held their Annual “Jail Ain’t No Good” parade in Harlem. Members of the Masjid, community leaders, and friends all gather to show support for unity in the community through the theme “Respect for Yourself and Your Family.” Newly elected Councilmember Yusef Salaam spoke at the rally. Iesha Sekou Street Corner Resources was in attendance.

Bill Moore photos

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There were two interesting developments in the past week related to efforts by Caribbean governments to make former European slave-trading nations pay for their atrocities, in the form of a British church apologizing for its role and the descendants of indentured East Indians in Suriname demanding an apology from the Netherlands.

The not-so-well-known United Reformed Church in the United Kingdom formally apologized to Jamaica and the region for in role in the Transatlantic slave trade from 1501 to 1867, accepting that it had indeed benefitted from slavery through generous donations from the plantocracy in the region, among other avenues.

“We, the general assembly of the United Reformed Church, mindful of our own history and that of our antecedent bodies, apologize for our role in transatlantic slavery and the scars that continue to blight our society, our church, and the lives of Black people in our midst and around the globe today. We have heard the pain of sisters and brothers who have been hurt and are still being hurt by these legacies, including the continuing scourge of racism,” said Rev. Tessa Robinson. 

“We recognise our failure to honor the efforts of our abolitionist forebears by permitting the legacies of transatlantic slavery to continue shaping our world. We offer our apology to God and to our sisters and brothers in Africa, the Caribbean, and their descendants for all that has created and still perpetuates such deep hurt which originated from the horror of slavery. We repent of the hurt we have caused, our reluctance to face up to the sins of the past, and our silence in the face of racism and injustice today,” she added.

The apology came just days after a number of Indo representative groups and leaders in Suriname demanded an apology from the Dutch for their role in bringing Indian peasants from India to replace Africans after emancipation in the 1830s.

The groups argued that the conditions under which the Indians worked were horrible, brutal, and inhuman, and have already dispatched a formal demand letter to King Willem-Alexander, complaining of “deep indignation” for indentureship, saying that they “were made coolies” — unskilled laborers working for less than peppercorn wages under conditions in what was clearly a new form of slavery in this part of the world. 

RELATED – Making the Dream Real: The Past, Present and Future of Reparations

“It is high time for a just recognition and apology towards the Hindustani descendants of those who were made coolies. This action should come directly from you as a symbol of sincere regret and recognition of the immense harm done under the supervision and responsibility of your ancestors to countless individuals and generations. This dark passage from Dutch history can no longer be ignored.”

The Dutch have twice apologized for the African slave trade through then Prime Minister Mark Rutte back in late 2022 and through the King last year. Indians want the apology on or before the first anniversary of the arrival of indentured labor to the Caribbean Community (CARICOM) nation in June. So far, there have been no demands for financial reparations but the Dutch have said that they are willing to talk about payments for slavery by way of the umbrella Caribbean Reparations Commission that was established by governments nearly a decade ago. Demand letters for payments have already been sent to various European capitals with a request for a summit on the issue as well.

In the meantime, local pastor Bruce Fletcher, who also serves as the chief executive officer of Operation Save Jamaica and convener of the Churches Reparations Action Forum (CRAF), is of the view that the region needs to be more militant on racial and ethnic issues. There is also need for repair given the centuries of hurt and the lingering effects of slavery to this day.

“I am reminded that the Scriptures speak to the fact that judgment must begin in the house of the Lord. We also bear in mind that the Church is called to be salt and light in the Earth. It is interesting to note that the two accounts given in the book of Acts where the leaders of the Church came together to address matters in the Church, had to do with racial and ethnic issues. One is found in Acts 6 and the other in Acts chapter 15. Therefore, we, in the 21st century, must do no less,” he said, according to a report in the newspaper the Jamaica Gleaner.

The protestant church is basically a union of the Presbyterian Church of England and the Congregational Church in England and Wales.

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