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Subscribe to our newsletter Privacy Policy Success! Your account was created and you’re signed in. Please visit My Account to verify and manage your account. An account was already registered with this email. Please check your inbox for an authentication link. Support Independent Arts Journalism As an independent publication, we rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, consider becoming a member today . Already a member? Sign in here. We rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, please join us as a member . The trailblazing poet, artist, educator, and lifelong activist Nikki Giovanni, known as the “Princess of Black Poetry,” died on Monday, December 9 at a hospital in Blacksburg, Virginia. She was 81. Giovanni’s publicist told local reporters that she passed away after complications related to lung cancer with her wife, Virginia “Ginny” Fowler, by her side. Born Yolande Cornelia Giovanni Jr. on June 7, 1943, in Knoxville, Tennessee, she grew up between her birthplace and Ohio and attended Fisk University, graduating in 1967. In the wake of the death of her grandmother and the assassination of Martin Luther King Jr. the following year, she began writing poetry to process her grief. Giovanni went on to publish over 20 poetry collections and more than a dozen illustrated children’s books, winning numerous prizes including the inaugural Rosa Parks Woman of Courage Award in 2002. Her best-known works include her first three poetry collections, Black Feeling, Black Talk (1968), Black Judgment (1968) and Re: Creation (1970), which drew inspiration from her key role in the Black Arts Movement of the 1960s and ’70s , when Black American intellectuals and artists of various disciplines used their work to celebrate African-American culture and create new community spaces focused on self-determination. It was also during this period that Giovanni had a historic multi-topic conversation with writer James Baldwin for the public television program Soul! Originally filmed in London in 1971, the episode was later transcribed and adapted into the collaborative book A Dialogue (1973) and continues to resonate decades later for its illuminating questions and candid commentary on subjects spanning race, gender, and politics. “An educator, activist, and iconic poet, Nikki Giovanni challenged us to examine love, revolution, and what it means to be human — all while being a beacon of light to anyone who met her, including me,” Joy Bivins, director of the Schomburg Center for Research in Black Culture in New York City, told Hyperallergic . Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities “Each of us had our own treasured Nikki Giovanni work that not only lifted our spirits but reminded us to use our own voices to make change,” Bivins said. In 2023, Giovanni was the subject of Michèle Stephenson and Joe Brewster’s biographical documentary Going to Mars: The Nikki Giovanni Project . The poet made headlines earlier this year when she joined the filmmakers and writer Doreen St. Félix in boycotting a scheduled screening and discussion around the film at the Brooklyn Museum to protest the institution and its program partner, PEN America, for their alleged silence on Israel’s ongoing attacks on Palestine. “I stand with my producers and understand pain. I hope peace and the prayers for peace will be answered,” Giovanni told Hyperallergic in March. In addition to her poetry and activism, Giovanni is widely recognized for her children’s works, including the illustrated biography Rosa (2005) about Civil Rights activist Rosa Parks, whom Giovanni knew personally. She also produced several nonfiction works and essays, edited anthologies, and created multiple audio recordings merging spoken-word poetry with music, such as Truth Is On Its Way (1971), Like a Ripple on a Pond (1973), and The Way I Feel (1975). More recently, Giovanni published Make Me Rain: Poems & Pros e (2020), which celebrates her Black heritage while also delving into the enduring effects of racism and white nationalism. Her final collection of poetry, The Last Book , is slated to be released next year. “My dream was not to publish or to even be a writer: My dream was to discover something no one else had thought of. I guess that’s why I’m a poet. We put things together in ways no one else does,” Giovanni wrote on her website . In addition to her literary contributions, Giovanni held teaching positions at Rutgers University and Queens College before taking a job at Virginia Polytechnic Institute and State University, where she met Fowler, who became her life partner. The couple later married in 2016. Her commitment to advocacy is what inspired artist Robert Shetterly to paint her portrait for his Americans Who Tell the Truth series (2002–ongoing), which pays tribute to past and present American truthtellers. Shetterly told Hyperallergic that he included her in his project “because of her fearless insistence of telling the truth about racism and misogyny in this country.” “The power and precision of her words were like an arrow into our stubborn, unwoke hearts,” Shetterly said. In addition to Fowler, Giovanni is survived by her only child, Thomas Watson Giovanni, and a granddaughter, according to the New York Times . “We mourn this profound loss and find comfort in the fact that Nikki Giovanni’s incredible words are a legacy that will continue to heal, delight, and inspire generations to come,” Bivins said. We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism. If you can, please join us as a member today . Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading. Share Copied to clipboard Mail Bluesky Threads LinkedIn FacebookMan City blows 3-goal lead and gets booed by fans in draw with Feyenoord in Champions League
In an indirect warning to Keir Starmer, Tony Blair warned that taking more money out of people's pockets would make them feel disillusioned with politics. According to the former prime minister, poor public services, along with raised levels of taxation, public debt, and spending, are adding to public frustration not just in Britain but in every developed nation. Writing in the Daily Mail , Sir Tony said we live in an era of disruption, including in politics, and Britain faces the same dilemma. He added: "Our taxes are high; our spending and levels of public debt are high; and our service outcomes are poor." The former PM continued: "That is why politics is being disrupted. Any politician today, who is promising management of the status quo and not fundamental change of it, will lose." Blair's suggestion that high taxes alienate voters and disrupt politics is particularly significant in the UK, as it comes after Chancellor Rachel Reeves introduced £40 billion worth of taxes in her first budget . It amounts to the biggest tax rise in 30 years, but companies will bear much of the burden, leading some to complain they won't be able to invest in boosting productivity to help generate the economic growth the Government is dreaming of. The Chancellor's biggest revenue raiser is an increase in employer tax , which is expected to raise £25bn per year. The move has prompted consternation within businesses and warnings of lower wages and job cuts. In her Budget speech, Ms Reeves argued that she is asking businesses to contribute more, telling Parliament that successful businesses depend on successful schools, healthy firms need a healthy NHS, and a strong economy is dependent on strong public finances. Mr Blair, who was Labour prime minister from 1997 to 2007, warned the UK's present dilemma led to a splintering of the vote at the general election in July when MPs were elected from the Greens, Reform UK and independents. Sir Tony argues in his op-ed that lower taxes , reduced spending and better public service outcomes often appear to be "the Holy Grail of governing", but modern technology "puts it within reach". He went on to champion digital ID as "a good place to start", despite the Government having ruled out ID cards. Sir Tony said crime rates could be cut thanks to facial recognition, data and DNA while interactive app could provide pupils with personal tutoring. The former PM said the financial and energy crises, changes to the global economy, the COVID-19 pandemic, Britain's Brexit vote, and frequent changes in the UK's leadership have taken their toll. He argued that the challenges of governing today are "infinitely harder", but a technology revolution has the potential to be transformative. Sir Tony went on to outline the benefits in health, welfare, and immigration that could accrue from a "once-in-a-generation" shake-up of the system.Tonight: Fousheé at Union Stage Any bot scraping the career details for Fousheé would come up with a zeitgeisty grab bag of high points: daughter of a Jamaican musician; contestant on The Voice ; beneficiary of a viral TikTok clip (“Deep End Freestyle”); writing partner of Steve Lacy (e.g., “Bad Habit”); hook singer for Lil Wayne , and so on. It’s possible to skip all that, though, and absorb the New Jersey-raised pop song-maker’s talents in one 10-track, 27-minute sitting. Pointy Heights , released in September, lacks a hip-hop collab, sure, but everything else is in full effect. Foremost is her knack for dipping into genres without corrupting songs with cliches or nostalgia, whether its classic West African grooves (“do you have a soul?”), catchy postpunk and new wave (take your pick), Kingston rocksteady (“war”), or the alt-R&B that got attention in the first place (“still around,” “100 bux”). The lyrics are poetic and slang-free, the falsetto is nice, and it all points to more highlights ahead. Fousheé performs at 8 p.m. on Nov. 27 at Union Stage, 740 Water St. SW. unionstagepresents.com . $35–$50. —Joe Warminsky Friday, Monday, Tuesday, Wednesday: Paris, Texas at AFI Silver Paris, Texas is best viewed as a sequence of images. A haggard man staggers through the desert. A family watches images from a Super 8 camera projected against the wall of a dark living room. A mother and son reunite in a Houston high-rise, red and green traffic lights dappled across the dark streets beneath them like distant suns. A billion-dollar budget and an army of VFX artists couldn’t match the splendor of how this film uses roads, runways, mirrors, windows, and light—both artificial and natural—to tell its story. These days, cliches such as “neon soaked” and “shadowy” are routinely used to signal genre or homage, but Paris, Texas saturates scenes in bloody reds and dark greens to set a tone and tell a story rather than to reference other movies. This vibrancy makes the viewer feel like they’re watching real humans interact from behind a pane of clean glass. It’s a movie with a European director— Wim Wenders —who obviously loves America and its aesthetic. In fact, one character’s job is selling ad space on billboards, and it isn’t even played as some tired comment about commercialism! Instead it’s a way of weaving the character of Walt ( Dean Stockwell ) into the network of frontier-spanning highways that is the United States. Unlike the book on which the original treatment was based ( Motel Chronicles by Sam Shepard ), Paris, Texas has a plot: Walt tries to reconnect his long-missing brother Travis ( Harry Dean Stanton ) with his young son. Subsequently, Travis and the son end up taking off for Texas in search of the boy’s mother. Stanton deserves special mention for his performance as a hollowed-out man running from his past like it’s the It Follows monster . The scene where we finally get the full story is wall-to-wall dialogue, but even more intriguing than the words is the imagery, some of the most striking in the film. As Justin Chang of the Los Angeles Times once wrote , Paris, Texas “will always cry out for the biggest screen possible.” Paris, Texas screens at 3:05 p.m. on Nov. 29; 8:05 p.m. on Dec. 2; 4 p.m. Dec. 3; 3 p.m. Dec. 4 at AFI Silver, 8633 Colesville Rd., Silver Spring. silver.afi.com . $13. —Will Lennon Saturday: Girls Rock! DC: Camper Cover Benefit Show at Pie Shop Earlier this fall, I had the privilege of talking to the Girls Rock! DC Youth Leaders about music journalism and how to find, report, and write a story in D.C. These teens asked some great (and hard) questions about the D.C. music scene and the journalism industry. I left them feeling a lot like how I feel after a long-awaited concert: transported into the future. And let me tell you, the future of the local scene is safe in the hands of Girls Rock! DC’s youth. D.C. artists Cinema Hearts , Lud Roes , Ari Voxx , and Chyna will prove this Saturday when they take the Pie Shop stage to cover original songs written last summer by Girls Rock! DC campers (alongside their own discographies). The show is a fundraiser for the organization’s summer camp, meaning attendees get a unique opportunity to support campers and local artists alike. Girls Rock! DC is doing the hard and necessary work of empowering the next generation of queer and femme youth leaders, activists, and punk rockers, an endeavor worth deep investment and care in times like these. The show starts at 7 p.m. on Nov. 30 at Pie Shop, 1339 H St. NE. pieshopd.com . $12–$15. —Serena Zets Tuesday: Daisy Grenade at Fillmore Silver Spring The mid ’00s pop-punk “emo” aesthetic is all over Daisy Grenade ’s two EPs and handful of singles. Produced by Fall Out Boy ’s bassist and lyricist Pete Wentz , Daisy Grenade might be just a major label creation fronted by two women that love Wicked (you can literally see them lip-synching songs from Wicked on their Instagram), but they sure can sing. Unlike Fall Out Boy and the Wentz-discovered Panic! at the Disco , neither singer in Daisy Grenade has the vocal dexterity of Patrick Stump or the theatricality of Brendan Urie . But like FOB and Panic!, this duo also stays in the radio friendly lane, dabbling in pretty much every popular subgenre of guitar-based rock from the past two decades. You may have noticed I haven’t named who’s actually in this band. That’s intentional: It’s not in their bio. It’s not on their Spotify page. It’s not on their publicists’ page. But Wentz’s name is on all three. Regardless, singers Dani Nigro and Keaton Whittaker are very talented and this band clearly has the support of the music machine. Daisy Grenade are opening for State Champs , Knuckle Puck , and Meet Me @ the Altar , and it won’t be shocking if they jump the line to headline their own tour in a year’s time, because it’s only a matter of time before their tunes become earworms. Daisy Grenade play at 7 p.m. on Dec. 3 at Fillmore Silver Spring, 8656 Colesville Rd., Silver Spring. fillmoresilverspring.com . $48–$78 . —Brandon Wetherbee Tuesday and Wednesday: Aimee Mann and Ted Leo at the Birchmere As City Paper ’s own Sleigher periodically reminds us, a good new holiday song can be hard to find. Back in 2014, Aimee Mann and Ted Leo —who had been working together with their project the Both —gifted us “Nothing Left To Do (Let’s Make This Christmas Blue),” a pensive ballad of love and loss conjuring the warm melancholy of the holiday season. Listener beware—it proved too bleak for our own intrepid reviewer but has remained a personal favorite on my Xmas playlist since its release. Over the past 10 years, Mann and Leo have sporadically gotten together to put on a holiday show with their pals that provides a warm wink to the yuletide variety shows of yesteryear. During its two sold-out nights at the Birchmere, Mann and Leo will perform songs individually and together and will also be joined by funnyman Paul F . Tompkins , fully grown theater kid/singer-songwriter Nellie McKay , and author (and comic) Josh Gondelman . Aimee Mann and Ted Leo play at 7:30 p.m. on Dec. 3 and 4 at the Birchmere, 3701 Mount Vernon Ave., Alexandria. birchmere.com . Sold out. —Matt Siblo Ongoing: ETA at VisArts The desire to create one’s own reality might be particularly strong at the moment, and the line between the digital and analog worlds has never been fuzzier, so why not lean in to liminal spaces? ETA , an exhibit from Baltimore-based artist collective trio strikeWare, explores virtual spaces, constructed existences, and the illusion of traveling while staying still, often deploying technology like augmented and virtual reality in their projects while keeping one foot firmly in physical production methods. Mollye Bendell used an underwater camera mounted to a kayak to capture photogrammetry (photos that are digitally stitched together to create a 3D model) of the “ship graveyard” of Mallows Bay, Maryland, which were in turn made into prints, which can be further altered by viewing them through AR goggles. Christopher Kojzar has a multidisciplinary practice that spans digital and analog techniques, including intricate pencil drawings, sculpture, and AR. The artist has a method of drawing in public until he’s interrupted, at which point the drawing is finished, and several of these, offset by acrylic cutouts surrounding the sketch and colorful circle frames, dot the gallery. There are also forms that have been constructed both tangibly, such as in a pencil sketch or a metal sculpture, and virtually, as in a scene viewable through AR goggles, giving a jolt of recognition as the same shapes are spotted throughout the gallery. A highlight of the exhibit is an interactive piece by JLS Gangwisch featuring an overhead projector with transparencies that can be swapped out. An accompanying tablet can be held up to the projected image to call up 3D-rendered figures and surreal scenes, a delightful and unexpected blend of old and new school techniques. ETA runs through Jan. 26 at VisArts, 155 Gibbs St., Rockville. Wednesday and Thursday, noon to 4 p.m.; Friday, noon. to 8 p.m.; Saturday and Sunday, noon. to 4 p.m. visartscenter.org . Free. —Stephanie Rudig Don’t forget to sign up for City Lights , our twice-weekly guide to the best arts and nightlife delivered from our writers straight to your inbox every Thursday and Sunday.FBI director to resign
By ZEKE MILLER, Associated Press WASHINGTON (AP) — President-elect Donald Trump on Tuesday reached a required agreement with President Joe Biden’s White House to allow his transition staff to coordinate with the existing federal workforce before taking office on Jan. 20. The congressionally mandated agreement allows transition aides to work with federal agencies and access non-public information and gives a green light to government workers to talk to the transition team. But Trump has declined to sign a separate agreement with the General Services Administration that would have given his team access to secure government offices and email accounts, in part because it would require that the president-elect limit contributions to $5,000 and reveal who is donating to his transition effort. The White House agreement was supposed to have been signed by Oct. 1, according to the Presidential Transition Act, and the Biden White House had issued both public and private appeals for Trump’s team to sign on. The agreement is a critical step in ensuring an orderly transfer of power at noon on Inauguration Day, and lays the groundwork for the White House and government agencies to begin to share details on ongoing programs, operations and threats. It limits the risk that the Trump team could find itself taking control of the massive federal government without briefings and documents from the outgoing administration. As part of the agreement with the White House, Trump’s team will have to publicly disclose its ethics plan for the transition operation and make a commitment to uphold it, the White House said. Transition aides must sign statements that they have no financial positions that could pose a conflict of interest before they receive access to non-public federal information. Biden himself raised the agreement with Trump when they met in the Oval Office on Nov. 13, according to the White House, and Trump indicated that his team was working to get it signed. Trump chief of staff-designate Susie Wiles met with Biden’s chief of staff Jeff Zients at the White House on Nov. 19 and other senior officials in part to discuss remaining holdups, while lawyers for the two sides have spoken more than a half-dozen times in recent days to finalize the agreement. “Like President Biden said to the American people from the Rose Garden and directly to President-elect Trump, he is committed to an orderly transition,” said White House spokesperson Saloni Sharma. “President-elect Trump and his team will be in seat on January 20 at 12 pm – and they will immediately be responsible for a range of domestic and global challenges, foreseen and unforeseen. A smooth transition is critical to the safety and security of the American people who are counting on their leaders to be responsible and prepared.” Without the signed agreement, Biden administration officials were restricted in what they could share with the incoming team. Trump national security adviser-designate Rep. Mike Waltz met recently with Biden national security adviser Jake Sullivan, but the outgoing team was limited in what it could discuss. “We are doing everything that we can to effect a professional and an orderly transition,” White House national security spokesman John Kirby told reporters on Monday. “And we continue to urge the incoming team to take the steps that are necessary to be able to facilitate that on their end as well.” “This engagement allows our intended Cabinet nominees to begin critical preparations, including the deployment of landing teams to every department and agency, and complete the orderly transition of power,” said Wiles in a statement. The Trump transition team says it would disclose its donors to the public and would not take foreign donations. A separate agreement with the Department of Justice to coordinate background checks for vetting and security clearances is still being actively worked on and could be signed quickly now that the White House agreement is signed. The agency has teams of investigators standing by to process clearances for Trump aides and advisers once that document is signed. That would clear the way for transition aides and future administration appointees and nominees to begin accessing classified information before Trump takes office. Some Trump aides may hold active clearances from his first term in office or other government roles, but others will need new clearances to access classified data. Trump’s team on Friday formally told the GSA that they would not utilize the government office space blocks from the White House reserved for their use, or government email accounts, phones and computers during the transition. The White House said it does not agree with Trump’s decision to forgo support from the GSA, but is working on alternate ways to get Trump appointees the information they need without jeopardizing national security. Federal agencies are receiving guidance on Tuesday on how to share sensitive information with the Trump team without jeopardizing national security or non-public information. For instance, agencies may require in-person meetings and document reviews since the Trump team has declined to shift to using secure phones and computers. For unclassified information, agencies may ask Trump transition staff to attest that they are taking basic safeguards, like using two-factor authentication on their accounts.None
MOUNT CARMEL — Shazier Bethea scored nine of his game-high 20 points during the third quarter as the Miners handed the Red Tornadoes their first loss of the season in the non-league contest. Down 42-40 to start the fourth quarter, Minersville (6-2) outscored Mount Carmel 14-7 in the final frame. Dante Carr also finished in double figures with 10 points for the Miners. Sophomores Jaylen Delaney and Jude Lazicki each had 14 points for the Red Tornadoes (8-1). Minersville 54, Mount Carmel 49 Minersville (6-2) 54 Logan Hutsko 4 1-1 9; Chase Zimerofsky 1 0-0 2; Shazier Bethea 8 1-3 20; Bradley Kostishak 4 0-0 8; Dante Carr 4 2-2 10; Jordan Bowers 2 0-0 5. Totals 23 4-5 54. 3-point goals: Bethea 3, Bowers. Did not score: None. Mount Carmel (8-1) 49 Chase Balichik 2 0-0 6; Matthew Balichik 4 0-0 9; Jude Lazicki 5 2-4 14; Jaylen Delaney 6 2-5 14; Luke Blessing 1 0-0 2; Noah Shimko 2 0-0 4. Totals 20 4-9 49. 3-point goals: C. Balichik 2, Lazicki 2, M. Balichik. Did not score: Tait Adams. Score by quarters Minersville;12;7;21;14 — 54 Mt.Carmel;17;8;17;7 — 49
The Jammu & Kashmir Police on Monday (December 23, 2024) filed chargesheet against a Srinagar resident for allegedly passing critical data about Pandit migrant employees to the handlers based in Pakistan for issuing online threats. The chargesheet was filed before the 3rd Additional Sessions Judge, Jammu. According to the J&K Police’s special cell, State Investigation Agency (SIA), it apprehended Farhaan Muzaffar Mattoo, a resident of Srinagar, for his alleged role in gathering and sharing sensitive information about targeted employees. “The probe revealed that Mattoo acted as a conduit, using encrypted communication platforms to pass critical data about migrant employees to handlers based in Pakistan, who then issued threats through the “Kashmir Fight” platform,” the police said. The SIA launched an investigation in February this year after a series of threatening posts were published on social media by the terror outfits’ social media handle. The chargesheet also named Sheikh Sajjad Ahmad alias Sajjad Gul, a Srinagar resident, “now operating from Pakistan”, as the mastermind of this plot. “Sajjad is accused of coordinating the campaign to intimidate migrant employees and disrupt communal harmony in the UT,” the police said. The police termed the filing of the chargesheet as “a significant stride in the fight against cyber-terrorism”. It said the notorious “Kashmir Fight”, a social media handle, was operated by The Resistance Front (TRF), which was used to issue “chilling online threats to migrant Kashmiri Pandit employees, aiming to spread fear and unrest”. “The exposing of terror plans to disrupt peace underscores the determination of Jammu and Kashmir Police to protect its citizenry and provide a peaceful environment to them,” the police said. Published - December 24, 2024 03:01 am IST Copy link Email Facebook Twitter Telegram LinkedIn WhatsApp Reddit Jammu and Kashmir / crime, law and justiceCover Five: What to make of wild week around Nebraska football, and 5 biggest impact signees
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