Tag: OfficeStaff

Ron DeSantis is not a “mini-Trump” or some other diminutive. He is much more dangerous. Donald Trump has no “ideology” beyond megalomania and a deep desire to be an American god king. By comparison, DeSantis is far more intelligent and devious; he is an ideological fascist and racial authoritarian.

In a recent essay at Raw Story, Thom Hartmann summarized the danger to American democracy and society embodied by DeSantis:

Historians and political observers have been predicting that America would get our very own Mussolini ever since the days of Barry Goldwater. And there’s been no shortage of candidates: bribe-taking Nixon; Central American fascist-loving Reagan; Gitmo torturing and war-lying Bush; and, of course, Trump.

But with Ron DeSantis, we may finally be facing an all-American politician who has Mussolini’s guile, ruthlessness, and willingness to see people die to advance his political career, all while being smart and educated enough to avoid the easily satirized buffoonishness of Trump.

DeSantis and other Republican fascists have proclaimed Florida to be a bastion of “freedom” and “liberty.” In reality, Florida is now a laboratory for fascism. As part of his authoritarian project, DeSantis is enforcing thought crime laws that forbid the teaching of AP African-American studies in high school and other courses and programs across Florida’s school system (including at the college and university level) that examine questions of power, race and systemic inequality. DeSantis and his agents recently declared that the AP African-American studies course was inappropriate and will not be taught in Florida’s schools because it has “no educational value” and is “indoctrinating” (white) young people. DeSantis and his regime’s thought crime attacks on African-American studies are Orwell’s “1984” meets “Birth of a Nation.”

Racism and white supremacy are a choice.

The purpose of DeSantis’ thought crime laws is to intimidate and terrorize all teachers, educators, librarians, and others who are committed to education, critical thinking, and the truth in Florida (and beyond). In DeSantis’ Florida — and soon to be across “red state” America if he and the other fascist Republicans get their way — there will be censors who review books and other material for thought crimes and other “dangerous” ideas that are contrary to the interests of conservatives. These censors and party officials and their designated agents will also rewrite history – and reality itself – to fit the demands of the regime. The public will no longer be able to discern truth from lies and fantasies from facts and fiction. The subversion and destruction of reality, facts, and the truth are a precondition for, and one of the primary ways that fascist and other authoritarian regimes obtain and keep power.

DeSantis’ goal is to make America into a new Jim Crow Christofascist plutocracy. Donald Trump and Trumpism were just intermediate stops on that evil journey.

This is the power of censorship: people quickly learn to police their own behavior and that of their family, friends, neighbors, and yes, strangers. The public’s intellectual, creative, ethical, and moral lives quickly become impoverished. The result is the ideal fascist authoritarian subject: a compliant person who does not resist.

Here is a partial list of the dozens of scholars, authors, and other public thinkers whose work has now been declared “illegal” and a “thought crime” by DeSantis and his agents and subsequently marked for removal from the AP African-American Studies course:

Kimberlé Crenshaw

Henry Louis Gates, Jr.

James Cone

Nikki Giovanni

Barbara Fields

These are not just names on a banned books list. These are real human beings who are committed to helping the public and their students be engaged and responsible members of a larger community and to develop critical thinking skills that they can use to challenge and interrogate Power with the goal of making a better, more just, and truly democratic society. 

DeSantis and his regime’s thought crime attacks on African-American studies are Orwell’s “1984” meets “Birth of a Nation.”

I personally have interviewed, been in dialogue with, enjoyed the company of, had meals with, or otherwise interacted with a good many of these “banned” authors and scholars. I and many others have greatly benefitted from their scholarship, wisdom, time, and concern.

Why are DeSantis and his agents (in Florida and across the country) targeting African-American studies and other such programs?

There are many reasons.

The Black Freedom Struggle is one of the most successful pro-democracy resistance movements in American (and world) history. DeSantis and the other Republican-fascists and their forces do not want these lessons to be known, learned, or otherwise disseminated. DeSantis is working to create a type of “regime of knowledge” where Black, brown and other marginalized people’s triumphs and experiences are outright erased and/or grossly distorted as a way of literally removing their personhood and existence. History has repeatedly shown that “thought crimes,” banned books and other forms of intellectual violence are precursors to and do the work of interpersonal and intergroup violence on a large scale by the State, and those empowered to act in its name, against those deemed to be “the enemy.”

In all, Power intersects with and is an extension of knowledge production. And knowledge is not “neutral.” Philosopher Michel Foucault explained as much. “There is no power relation without the correlative constitution of a field of knowledge, nor any knowledge that does not presuppose and constitute at the same time power relations.” Foucault also explained that “Truth is linked in a circular relation with systems of power which produce and sustain it.”

DeSantis attended Yale for his undergraduate degree. In all likelihood, he encountered the work of Foucault during his studies there. Now DeSantis is putting Foucault’s powerful insights to work in ways contrary to their original intent.

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In a recent interview at The New Yorker, contributing writer Keeanga-Yamahtta Taylor spoke with historian Robin D.G. Kelley about DeSantis’ thought crimes regime and the targeting of African-American studies. Both Professor Taylor’s and Professor Kelley’s work was purged from the Advanced Placement African-American studies course. Kelley’s comments merit being quoted at length:

There’s two levels. One is that it’s about Ron DeSantis possibly running for President. I think that’s the most important thing, because, no matter what we think about DeSantis and his policies, we know he went to Yale University, and majored in history and political science with a 3.7 G.P.A., which means that he was at one of the premier institutions for history. That’s why I get frustrated when people say he needs to take a class. He took the class. He knows better. He knows that the culture wars actually win votes. He’s trying to get the Trump constituency.

So I think this is about Ron DeSantis wanting to run for President. But I also think that the focus on Florida occludes a bigger story. As you know, this goes back to the Trump years—well before Trump, but let’s just talk about the Trump years—the attack on the 1619 Project, Chris Rufo’s strategy of turning critical race theory into an epithet by denying it any meaning whatsoever. And creating a buzzword. That’s actually a strategy that has nothing to do with the field of African American studies; it has everything to do with vilifying a field—attacking the whole concept of racial justice and equity. So, to me, if DeSantis never banned the class, we would still be in this situation. And although it is true that a number of states did accept the pilot program for the A.P. class, some of those same states have passed, or are about to pass, laws that are banning or limiting what they’re calling critical race theory. So there is a general assault on knowledge, but specifically knowledge that interrogates issues of race, sex, gender, and even class.

It’s an ongoing struggle to roll back anything that’s perceived as diminishing white power. They want to convince white working people—the same white working people who have very little access to good health care and housing, whose lives are actually really precarious, as they move from union jobs to part-time, concierge labor to make ends meet—that somehow, if they can get control of the narrative inside classrooms, their lives would be better. Racism actually damages all of our prospects and futures.

I don’t think it’s an accident that the people who are targeted are you, Angela Davis, myself, bell hooks. To say that we’re not radical would be a lie. What does radical actually mean? What it means, what Black studies is about, is trying to understand how the system works and recognizing that the way the system works now benefits a few at the expense of the many. It’s easy to allow someone to come in, in the name of Black studies, and say, “We’re going to talk about ancient Africa, and the great achievements of the Kush of ancient Egypt.” That’s not a threat—not as much as the idea of critical race theory saying that, no matter what policies and procedures and legislation are implemented, the structure of racism, embedded in a capitalist system, embedded in a system of patriarchy, continues to create wealth for some and make the rest of our lives precarious. Precarious in terms of money, precarious in terms of police violence, precarious in terms of environmental catastrophe, precarious in many, many ways. And I think people could agree with me that that’s why we do this scholarship: because we’re trying to figure out a way to make a better future. You know, that’s the whole point. And if that’s subversive, then say it, but it’s definitely not indoctrination, because indoctrination is a state that bans books…..

[T]he subject of African American studies, even before it was called that, has been not just the condition of Black people but the condition of the country. And not just narrating that oppression and understanding it, and not just trying to think about ways to move beyond it—to transcend it, to come up with strategies to try to live—but also understanding what’s wrong with this country, with the system.

We’re not just interrogating our lives, we’re interrogating knowledge production itself. 

Dangerous thinking is a good thing and those with power want to socialize us into learned helplessness so that we will not see (and achieve) the radical possibilities of a true social democracy.

Years ago, when I was in high school and then college, I was lucky enough to have very generous teachers who took me on trips to conferences and other events at leading universities and institutions such as the Schomburg Center for Research in Black Culture. In fact, I was very lucky to have attended several conferences where Yosef Ben-Jochannan (“Dr. Ben”), who was one of the founders of African Studies, was the featured speaker. Those years that saw the Million Man March(es), debates about the merits of multiculturalism, diversity and “affirmative action” at America’s colleges and universities, boiling ethnic, racial and class tensions in Los Angeles and New York’s Crown Heights and Howard Beach neighborhoods (among others), the golden age of Hip Hop Music and Culture, and so many other political and cultural formations and events. It would be an understatement to say that those years were quite an exhilarating time to be a young black politically engaged person in America.

In so many ways, I am very much a product of that time period.

I learned that I have no taste for racial chauvinism; such beliefs are the mind killer. I also came to the conclusion that American and Western society is profoundly sick with white supremacy and racism. Those forces will likely bring the ultimate destruction of American society and its so-called democracy.

A more humane and good society are possible if we want it badly enough on both sides of the color line. Racism and white supremacy are a choice. America is structured around such forces and too many white Americans and others are deeply invested in such an arrangement of things — even if it causes them great harm. DeSantis and the larger white right are using thought crimes and other tools of censorship and intimidation as weapons to limit how we conceptualize freedom, democracy, justice, and the boundaries of the possible. DeSantis and those of his ilk wouldn’t be trying to ban books and authors (and by implication whole groups of people) if they were not deeply afraid of them – and the possibilities of achieving a more democratic and free and humane society. 

These are just a few people who have shaped my childhood and that of so many other Black young adults. Before they were icons, before they were appreciated by white, mainstream culture, before all else, they were young Black kids with a dream, just like us, who made us feel seen on-screen. As they vied for their big break in Hollywood, we mimicked their mannerisms, catchphrases, style and performances, ones that would stick with us forever and launch them into stardom. We made them stars in our hearts early on in their careers; for us, they have been household names for years.

This Black History Month, I sought to launch “Young, Gifted and Black,” a series spotlighting Hollywood’s up-and-coming Black Gen Zers in entertainment. From Jalyn Hall in “Till” to Priah Ferguson in “Stranger Things,” the stars of “Gossip Girl,” “Bel-Air,” “The Wonder Years” and more, this class of actors age 26 and under is displaying and portraying the breadth, talent and experiences of Black youth on- and off-screen. Some faces will be more familiar than others and many of you might be meeting them for the first time; my hope is they stay with you, like the stars that came before them.

“Black-ish” changed my life because it was my first major acting project, coming in from the commercial world. It was also my first time being able to help develop a character over a long period of time and make it my own. “Little” changed my life because it was my first time going into the producing world and it opened up a whole new lane for myself and my career.

“Black-ish” meant a lot to me because of the level of impact that it had, not just for the people on set but for the people around the world who watched and who listened and were able to open conversations with their own families. It was very comforting to have an opportunity to be on a set for eight years with legends who became my family. “Little” was important to me because it was a project that showed the world what I was truly capable of and it put me in the position to have a seat at the table and to create content and magic.

There were a lot of a-ha moments for me. Surprisingly, my ah-ha moment came later in my journey. I started in commercials at the age of 5 and from that time on, I saw acting as mainly a hobby. It was something I did just for fun, but everyone around me saw it as an actual gift. It became a real moment for me when I first got recognized for my work on “Black-ish” at the NAACP Image Awards at the age of 11. I realized how my work not only impacted the other young Black girls watching me, but myself as a child actor and growing my confidence in the entertainment industry.

I have quite a few actors and actresses who inspire me: Regina Hall, Kevin Hart, Jenifer Lewis and Anthony Anderson are a few that come to mind. The scene that I remember that most inspired me was a “Black-ish” episode called “Hope.” There was a scene where Anthony had a monologue that only took a few minutes for him to memorize and deliver so eloquently.

Since I’m only 18 and I’m still trying to find my way, I feel like the same thing applies to my career. Just continuing to find ways to do projects that I’m passionate about and be open-minded to new opportunities that come my way

“The Wonder Years” changed my life by helping me look at things from a different perspective. The things that we film in the show, I’ve heard about, seen videos of, and even seen other people film about it on television. But now that I’m the one experiencing it firsthand, it definitely has had an effect on me. Being in those older clothes, seeing the older cars, and even other things from that time period definitely changes your point of view of life.

This show definitely means a lot to me. There are a lot of things that I’m representing while doing this project. Another reason why this show means a lot to me is because my last name is attached to it. My dad always tells me that you work for your last name. So when I found out my character’s last name was Williams, it made me want the role even more.

I think my a-ha moment with acting was when I did my school play and how I felt on the stage. It’s always a good feeling when you feel good about what it is you’re actually doing. When other people enjoy it, that’s just icing on the cake. After feeling how I felt in that moment, there was no changing my mind about wanting to act.

For Black History Month, we’re thinking about those influential figures who came before us. Who are some actors who inspired you, and could you name a scene from a TV series or film of theirs that you look to for inspiration?

There are many Black actors out there who are really good at what they do and I strive to be as great as they are. I find doing comedy fun, and when I first watched Will Smith, I could tell he knew comedy very well. So any scenes of his I like to look at for comedy. For a more serious look, I look toward Denzel Washington. A specific scene that I love to look at is from “Remember the Titans.” The scene where he’s having a serious motivational talk with all the players and other coaches about coming together. I try my hardest to master these two things in all my acting today.

My personhood and identity definitely informs my work by always having a playfulness around. Finding common ground with characters you play is very important, and the quicker you can find it, the better you’ll be, in my opinion. My character Dean is very playful, and he loves to just have fun. I’m like that in real life, so the playfulness part isn’t acting. It’s my real self.

Getting the opportunity to be a series regular so early on in my career is not something I took lightly. “The Wonder Years” has been one of the biggest blessings. Working with and learning from absolute icons that I watched growing up has been nothing less than a dream come true.

“The Wonder Years” means so much to me. Being able to showcase the joy, happiness, nostalgia, as opposed to only the sadness, of Black people in America during the ’60s is amazing. It is a different perspective that I don’t think has been displayed enough. We have not shied away from the heartbreak and cruelty that was occurring, but also showed the other layers. In addition, being an unapologetically dark-skinned Black family on TV has been the biggest joy for me. Representation is so important, and getting to show little dark-skinned Black kiddos that they can do this too makes me so so happy.

Growing up, I was always a performer — putting on little plays, talent shows, etc. for my family. Although I loved being onstage, it wasn’t until my sophomore or junior year of high school that I realized that doing theater and acting didn’t have to only be a hobby for me; I could actually make a career out of it. Having my passion also be my job is the best thing in the world.

For me, seeing someone onstage or the screen who “looks” like me has always been inspiring; it has helped me believe that my dreams are attainable. Lupita Nyong’o, a fellow Kenyan, is a huge inspiration for me; Patina Miller — in the theater world, her performance as the Leading Player in “Pippin” is one of my favorite performances of all time. And of course, growing up, I always wanted to be like Raven Symone in “That’s So Raven” and “The Cheetah Girls”!

I think for every role one plays, it is important to bring a part of yourself into it — that is what makes it special and unique to you. For me, I am a proud first-generation Kenyan American, so being able to bring any part of my upbringing and culture into my work — no matter how big or small — is important. Also, being the oldest of six siblings, getting to bring some of that into playing Dean’s older sister on “The Wonder Years” is loads of fun. Personal life experiences can bring a lot of great things into your work!

I’m inspired by Viola Davis, Kerry Washington, Gabrielle Union, Forest Whitaker, Denzel Washington. A movie scene that always moves me is when Denzel Washington played in “John Q.” He was talking on the phone to his son who was sick and he was holding people hostage because he was determined to help his son. OMG! I was a ball of tears. For me, it was just so real and so raw — I was like, this is what acting is all about.

I would say my identity and my personality makes me a very hard worker. I’m very by the book and I like things to be done efficiently. I don’t like when people are waiting on me. I’m very charismatic off the screen and I put that in my work and in my characters.

“Bel-Air” has put my work on the biggest platform I’ve ever had the chance for it to be put on. But even deeper than that, “Bel-Air” has given me an incredible chance to grow, both as an artist and as a person. Every day throughout this journey I’ve learned something new; every day is a new adventure or a new problem to solve. Days on set are long, and with a series this big, there is a lot of pressure to do a great job all of the time with every single take; but the interesting irony of it all is that in order for that to happen, one has to free themselves of that expectation and just create.

“Bel-Air” has been a steroid shot in my growth as a person; my time on this show has taught me so much about patience, and love, and gratitude that I feel like in the year and a half that I’ve been playing this role, I’ve aged triple the time. Don’t get me wrong, though — there is a lot of dope stuff that comes with being on a very successful show: the free stuff, the glitz, and glam of it all, the social capital, etc. All of that does kind of have a habit of paling in comparison to watching myself evolve and grow into the artist I’ve always dreamed of being.

My goal in life has always been to be the manifestation of my ancestors’ wildest dreams; as a first-generation American, that is kind of the mantle I have to hold. This show has let me actualize that goal. My grandparents are in Nigeria, and while they don’t really understand the specific significance of a show streaming on Peacock, a platform that is the online version of NBC, they definitely understand that I’m living my dreams and I’m happy. My mom has told me stories of her telling my grandad what our Season 1 premiere was like and apparently when she got to the part where I was walking a red carpet and there were hundreds of photographers calling my name and taking pictures, he started crying because it made him so happy. That’s how deep this stuff is for me; it feels ancestral in a way.

Funny enough, The Disney Channel’s original “High School Musical”! I grew up playing sports and was convinced that soccer was going to be my career. But I watched “High School Musical,” and I had this moment of seeing how cool that whole theater thing would be. Fast forward a whole bunch of years, and I got into a performing arts high school (Kinder High School For the Performing and Visual Arts in Houston) for theater, and I realized it just kind of made sense as the thing I’m here to do.

“My goal in life has always been to be the manifestation of my ancestors’ wildest dreams; as a first-generation American that is kind of the mantle I have to hold. This show has let me actualize that goal.”

Jonathan Majors is just such a massive inspiration for me in anything he does. He is an expert and shows such complex emotion and layering his characters with so much that it’s impossible to take your eyes off him. It’s relatively recent, but at the end of “The Harder They Fall,” after he has gone head-to-head with his archnemesis of the whole movie and wins, he comes out and his girlfriend asks, “Is the Devil dead?” and he hugs her, and I think he says something like, “I’m not so sure,” and the pain and conflict in his face and voice? Whew. Considering that the devil in question was just revealed to be his long-lost brother? That’s acting.

Something I always say is that every swing and miss makes me better at swinging. And I think I like to take that with me into everything I do. Sure, I’m going to set my standards high and my goal is to be the best to ever do something, but ultimately my plan is to never give up. My special skill is I just won’t stay down, and I think that’s really helped me get where I am today. Also treating everyone with kindness is very important to me as well, it’s kind of the least you can do, in my opinion.

I’m still a normal kid who goes to school, football games and school events, but I definitely felt a shift in my career when I realized the impact the show and even my character in particular have had on people. Young girls that look like me could actually see themselves represented on-screen and relate. I’m so glad that I have the platform and opportunity to make people happy and inspire them.

“Bel-Air” means a lot to me. I feel it’s extremely important to display “Black excellence,” but more importantly, show what it takes to get there! I love how this show presents a successful Black family that so many people can relate to because they deal with real-life topics that we all face today — from drugs, sexuality, abandonment, not fitting in and so many other subjects.

I have always enjoyed entertaining people, but would say my first “a-ha moment” was when I booked my first job at 9 years old. I remember it like it was yesterday. I played a scared little girl in the back of a car on “Criminal Minds.” It was a night scene and had to be shot in a dark foggy place, but the moment I walked on set I remember feeling like this is what I want to do for the rest of my life. I fell in love with the lights, the camera and the action. I loved how I can change into a different person and live out someone else’s story.

Viola Davis, Zendaya and Ava DuVernay are definitely my top inspirations. I want to be more than just an actress; I also want to be behind the camera directing and producing my own projects. Ava DuVernay is so talented and successful at what she does; I would love to follow in her path. One performance that has always stood out to me was Viola Davis in “Fences” and the scene where she stands up to her husband and tells him how much she’s sacrificed as a wife and mother, that she had to put her dreams on hold so she can hold down the family.

I like to incorporate my identity and personhood into my work when the character I’m playing calls for it and I feel I can relate to them in real life. If the connection isn’t there naturally, I take notes on my character and do research to find ways I can become more like them and make it look and feel natural. I feel like the beauty of acting is not always being the character I’m playing in real life, but being able to transform into someone completely different for the moment.

Since joining “Stranger Things,” my life has changed in every area. Emotionally, my heart is always overwhelmed by how many people feel seen through Erica. A young Black girl touching many hearts globally isn’t common, particularly in the sci-fi-horror genre where we’re limited in representation. Stepping into this role as a 9-year-old local hire, my only desire was to deliver my best work with two lines and eventually land bigger opportunities from that credit. Now I’m 16 and I play a starring member of this cultural phenomenon. It’s kind of a Cinderella story because that rarely happens, for any actor. I believe many people from various backgrounds are inspired by my journey. Traveling the world, meeting thousands of fans, hearing stories of how Erica impacted them on a personal level — it still feels very new and beautiful.

There’s a sense of pride and responsibility I have in this position. I am one of few Black young women in this space. Erica’s storyline may not be as broad, but her presence is valuable. Black girls and young women add beauty, intelligence, richness and cool to every space. An invitation to discuss Erica in any way helps shift the narrative. We are welcomed in global spaces, people want to see us. There will be young Black actors to follow me, so my journey on “Stranger Things” will create opportunities greater than I imagined. It has also provided clarity on my long-term career goals, too.

As a little kid, I never met a stranger and struck up a conversation with anyone, anywhere. I was that little girl in the grocery store talking your ear off or waving hello. My personality and expressions cracked people up. I would impersonate people and memorize scenes with minimal effort. “Daddy’s Little Girls” and “Crooklyn” were movies I repeatedly watched because those worlds looked familiar. Around age 5, I asked my mom if those stories were real. She explained the kids are actors and broke down the process. My “a-ha” moment was telling her, “I want to be in the TV too, mama!” Shortly after, my parents enrolled me in theater programs and noticed how well the audience responded to my work, in comedic and really intense material. Acting just came natural for me, and I eventually landed agency representation.

Angela Bassett immediately comes to my mind. She doesn’t play characters, she becomes. I hope that makes sense because I mean that as a compliment. I don’t see her, I see Bernadine, Tina Turner, Betty Shabazz, Reva Styles. I can’t name one particular scene or film because every moment, start to finish, inspires me. Even the silence. There are so many more I adore — Regina Hall, Nicole Beharie, Tessa Thompson, Niecy Nash, Quinta Brunson. All of them are regal and brilliantly talented, I hope to have that type of longevity and respect.

Navigating from child to young adult can come with its share of highs and lows. Taking this journey in the public eye is interesting, but I’m confident in my own journey. As much as I desire to use my platform and voice, I’m still evolving and learning. I am wise in many aspects for my age, just as Erica, Sydney or other characters I’ve portrayed. Those fictional characters are dependable, studious, athletic — all qualities I inhibit. There have been days I’ve played Erica and it has been straight-up fun. I get to create this pint-sized, Dungeons & Dragons polymath with flawless nails, who gets pulled into this dangerous mission with monsters, all over some ice cream. It’s funny because in real life, it’s like … OK, girl, the world is on fire and you haven’t told your mom anything? So I’ll wonder — is Erica OK? Then there are other days Erica is therapeutic for me, a release. I think that’s the beauty of the work, I get to be vulnerable and share my heart. Characters can take you on a journey and I’ll arrive at a choice that was never expected, but it just works, kind of like life. That’s worth celebrating because I know that choice came from a pure place.

There have been doors I never even thought of and it’s like every time I walk through I just have the time of my life. I’d say working up-close with creators of shows expanded my mind and helped guide me to where I’d want to be in life. Forever grateful to them. Both had a very cool audience base too, so it’s hilarious hearing predictions about the characters.

“Gentefied” and “Atlanta” were definitely “for the culture” shows. They’re more than just good watches: “Atlanta” gave a lot of hope to Black people up and coming in the arts, and “Gentefied” showed a family struggling with immigration and being pushed out of their community and it broke my heart. So when offered space on their platform, I was really proud because these shows have changed peoples’ lives.

I’ve always known what I was going to do and I’ve been telling everyone since fifth grade, every year, the same thing. What fueled me over the years was improv and theater being such great energy outlets for me, the major support of my friends, and proving the people that told me to “think smaller” wrong.

I look up to icons like Queen Latifah, Tracee Ellis Ross, Regina King, Phylicia Rashad, Raven Symone, Diana Ross and Will Smith. Diana Ross’ performance in “Lady Sings the Blues” is a source of inspiration from beginning to end. Her preparation and comfortability in that film will always be my go-to reference; the same goes for Will Smith’s extraordinary performance in “Six Degrees of Separation.”

By nature, I’m a sensitive and compassionate person. So when I read a character I’m thinking about how I can redeem them, give them hope and make them as human as I can even though it’s make-believe. I’m someone that likes to laugh a lot, and even though acting is hard work, it’s really great getting to connect with artists and play around with our craft. Lastly, I think because the world puts so much stress on what it is to just be human, I try to reflect a lot of joy in hopes to get smiles because I remember the moments I didn’t have any and how scary that was.

They kicked off my career in a way that I never could have imagined. I still can’t believe I was blessed and lucky enough to have been on two “hit” TV shows back-to-back at the start of my career. I never would have guessed when I got cast in “Chilling Adventures of Sabrina” that Prudence Blackwood Night would be my “breakout role” and garner so much attention that leads to opportunities such as “You.” I never would have guessed the impact Marienne would have on so many women of color and the way they would champion her and me for playing her. Both of those shows set me on a course for success that is still so surreal to me.

For as long as I am alive, I will hold immense gratitude for those projects. Not just for what they did for my career, but for how they helped me grow and believe in myself as a person. “Sabrina” was a gift of an experience that gave me so much confidence as an actor. That project enabled me to see my worth and value as an artist — understanding the way my choices on-screen then informed and inspired the writers to elevate and expand Prudence as a character. “You” is the project that helped me find my voice as a young woman of color in the industry. This project empowered me, with the support of allies like Penn Badgley and Sera Gamble, to be unafraid to stand up for myself and speak up in regard to representation. At the end of the day, those projects will always hold a special place in my heart and are very important milestones for me in my journey.

It was the summer after my 10th-grade year. The theater department of my performing arts school selected a small group of students to perform at Scotland’s Edinburgh Fringe Festival. We had spent that school year writing and crafting our own version of Kafka’s “The Trial” to perform at the festival. I remember standing in the middle of the Royal Mile (the main strip of the Fringe Festival) performing a preview of our student-written play to entice people to come to the show. As I watched people gather around to see us — this group of young theater kids from Oakland, California, performing this little play we wrote, surrounded by so many other incredible artists and street performers from all over the world, seeing the way they were thrilled and moved by this art we created — I knew then that this is what I wanted to do for the rest of my life. I understood then, the impact of storytelling and wanted to live in that magic of connection forever.

“I make it my duty to ensure that whatever project I do, whatever character I play, is delivering an accurate depiction of what it truly means to be Black and/or Asian, culturally speaking, and giving credence to the true power and experience of my people in all forms.”

For Black History Month, we’re thinking about those influential figures who came before us. Who are some actors who inspired you, and could you name a scene from a TV series or film of theirs that you look to for inspiration?

My first role model was the incomparable Eartha Kitt. I was first introduced to her hearing “C’est Si Bon” as a child and hearing her not only sing but speak on that track. I was immediately hypnotized by the magnetism of her speech, her voice. My parents then showed me the 1966 “Batman” in which she played Catwoman. I was enthralled and captivated by her insurmountable presence. The scene where she crashes the award ceremony for “Best Dressed” still gives me chills every time I watch it. The strength in her stance, the allure of her chuckle, that unforgettable purr. That magnetic power she carried on-screen was and is unforgettable to me and continues to inspire me to this day to be unapologetic in my presence, both on- and off-screen, just as she was.

Another who inspired me, as he has many, is Denzel Washington. He has always been a master of stoicism and stillness to me, which was something I struggled to grasp when I first stepped into film and television. A scene of his I often look to for inspiration is one from “American Gangster,” the one where Richie offers Frank Lucas a deal in prison. He barely moves a muscle through most of that scene, yet you can see every thought and emotion pass through his mind as he listens intently. The assured confidence that turns into the nervous calculation, the slow, creeping anger that rises and the gracious acceptance of his defeat. It’s masterful — so many beats playing with such subtlety, such stillness. That scene reminds me that less is more and I thank him for that incredible example.

They hold me accountable to be intentional in the work that I do. Being a Black and Asian young woman in Hollywood is not easy. This industry certainly makes it hard for me, and people like me, to be seen clearly and respected for who and what I am. So I make it my duty to ensure that whatever project I do, whatever character I play, is delivering an accurate depiction of what it truly means to be Black and/or Asian, culturally speaking, and giving credence to the true power and experience of my people in all forms. I also make it my responsibility to challenge any misinterpretation or degradation of that identity and experience. Not simply for myself, but to pay my respects in honoring the work and struggle of the ancestors that paved the way for me to be here — to assure that work was not in vain and is acknowledged in the light of respect. My intention is also to ensure that the youth of color coming behind me get to shine just as unapologetically in their truth without a fight, but with pride.

“Gossip Girl” changed my life for the better in every aspect imaginable. It provided me with confidence to pursue a career I’ve always been intimidated by, but always knew deep inside was meant for me. It provided access to people and places that expanded my love for life. It gave me a way to support my friends and family in ways I never imagined I’d be able to at this age. Most of all, it gave me the opportunity to represent the community I am a part of and fulfill the innate duty I hold as a queer Black woman in the entertainment industry.

The show represents a lot of things for me, but most of all, it represents change. The way the show flipped the bird to tired stereotypes and hurtful tropes is what made me so excited to be a part of it. People are tired of feeling misrepresented and targeted, and the very first time I read the pilot, I was thrilled to find not only did I smile at the absence of any tired tropes or misrepresentation, I cheered at the effort for inclusion and presence of accurate representation. The show means the world to me, most of all because I got the opportunity to be a part of something that is part of change.

I have always been an artist at heart, but not always an actor. My passion was music. From the age of 3, I started taking singing and songwriting seriously. My mom would give me voice lessons, I would write little tunes on GarageBand that will never see the light of day so long as I live, and I would always be the one in the car that has to have the radio on. So naturally, when I went to high school, I joined the choir as my extracurricular. Well, I passed out on the first day at 7 in the morning. Turns out I am NOT a soprano. Afterwards, I went to my dean asking to be placed in dance instead. When she told me that dance was full and the only thing left was drama, my stomach dropped. I had always been painfully shy and the thought of the stage frightened me to no end. I’ve learned now, sometimes when it’s up to fate to decide, a beautiful epiphany can be revealed to you. That is exactly what happened. Through my fear and due to fate, I found my passion.

I always go back to Viola Davis. She and her work inspire me to push myself. Her line of work speaks for itself but then in addition to her accolades, she has always been outspoken about the causes she believes in and does so with grace and strength. I also have always looked up to Cynthia Erivo. Both of these women have made me realize it’s not only your training and skill, but your personal perspective on life and love, that can set you apart.

I have always been very afraid of change and uncomfortable in suspense. But as I continue to grow and experience in my personal life, I am realizing the things I find within those uncomfortable times of limbo, help me become a better actor. Traveling for the first time was scary, moving my entire life and person to different places is always scary. But instead of fear I now look forward to change. I have the privilege of looking back at an episode or project I’ve done and see how whatever I was going through influenced my work. I can then build from there. My new word is building. It’s not destination-oriented and that is why I like it.

When I booked “Gossip Girl,” I was fresh from graduating acting school working as a production assistant on “The Late Show with Stephen Colbert.” To say “Gossip Girl” changed my life would be an understatement. Not only has it been a launching pad to the rest of my career, but it gave me the assurance I think every young actor hopes for. The assurance that there is room for me and I absolutely belong.

I was such a huge fan of the original show when I was a preteen. I loved the books, the fashion, the drama, everything. I always loved the world, but was aware that there weren’t many girls that looked like me living in it. It is an honor to be a part of the change that is happening on TV overall where we see more and more diversity. It’s truly so beautiful to me, that now there is a character played by me that other girls can see themselves in.

For a time in elementary school, I had convinced myself I simply would never have what it took to even book a lead role, let alone be an actor. However, in seventh grade, we had a poem project where we had to perform poetry for the class as if they were monologues. I got on stage and performed Dorothy Parker’s “One Perfect Rose,” and in that moment I felt as if I had blacked out. And when I came to, all I could hear was the applause from the audience and in that moment I knew. My skin tingled, and my brain finally felt completely at peace. Nothing else mattered, and from that moment on, I knew that the feeling of performing and being onstage was my fuel. I made the internal decision that I had to be an actor. I wasn’t sure how I would do it, but I knew it was what I was destined to do.

Growing up, my family couldn’t afford cable, which meant we were often left watching the free channels. And one of those channels was UPN. It was a mecca of Black content and television and I truly consumed all it had to offer like water. Watching actresses like Erika Alexander in “Living Single,” Brandy and Sheryl Lee Ralph in “Moesha,” and Dawnn Lewis and Charnele Brown in “A Different World” made me feel completely seen. Like the unkind words being told to me at school had no weight because these beautiful women on my screen looked like me and were completely thriving. And that connection to Black women on my screen never went away or waned. I root for them all at all times. And I am ready with a pen to learn anything they have to offer.

Truly one of the most impactful scenes for me as a kid was watching Charnele Brown in “A Different World” deliver her speech about colorism in Season 5 episode 11 “Mammy Dearest.” I will never forget being 10 years old watching this scene, tearing up with her because I wasn’t alone in my experiences. That’s the beauty of this industry and what we do. We can make someone feel seen thousands of miles away, decades after we filmed it, and make them feel completely validated in their life. It’s a beautiful life to live.

Being a Black woman forms a framework to my everyday life walking this earth. As multifaceted as an individual I am, my Blackness is the shining gold battery at the center of my soul that energizes me. Every character I work on, whether onstage or screen, is also energized by that same golden battery. My work will always be informed by my Blackness because my perception of life is shaped by it. I think rather than viewing my identity as something that limits me and my work to a box, I see myself as liberated and galvanized by it.

“All American” was the first series regular job I ever landed, and so it’s really the catalyst that propelled my career to where it is today. I learned every day while filming on set, from a young age, so it’s been an amazing experience to be a part of.

We’ve become a family over the years — my cast and our fans. The episodes resonate so deeply with our audience and the fans get to really indulge in it. So, when I think of the show, I think of what a strong community we’ve built around it, and that’s very special.

I was actually 5 years old, and I said to my mom, “I’m going to be inside the TV one day.” I’m the first person in my family to ever break into acting, but it’s something I’ve known I was meant to do since I was a young kid. A few months later, I remember seeing that Kandi Burruss had posted on her social media about an acting camp nearby, and that the camp was hosting a showcase, so I had my mom take me to see the performance. I was completely blown away during the show and I said to myself, wow, this is what I want to do. So, I enrolled in the camp that day, and the rest is history!

Michael Jai White is terrific in “Blood and Bone,” and I’ve watched Idris in “Pacific Rim” countless times — it’s sci-fi but also hopeful and uplifting, and his performance has all the things I want to embody when it comes to portraying a strong character and delivering great acting, while also having fun. Of course, Chadwick in “Black Panther” is just incredible as well.

I believe that it’s crucial to always be yourself 100% of the time. That’s what I bring on to every set I touch and remind myself of constantly. I look to see how I can find myself and emulate my essence in every character I portray, and it usually works in my favor [laughs].

This all rings true for my role in “Till” as well playing Emmett Till. As a young Black man, it was such an honor to have the opportunity to play the part of another young Black man whose story is so crucial to our country’s history, and the shaping of American culture. Of course, there have been numerous portrayals of his story to date, but to get to show him in this light, as a lovable young adult, and giving him a voice in our generation where we often don’t get educated on his story, was truly unique and extremely important to me.

The main thing is the way the show has helped me to be more vulnerable and authentic. I think one of the fun things about performing is getting to be “on” and do all this cool stuff. However with this character I have gotten so many moments where I have been able to reach into personal experiences — sometimes painful, sometimes joyful and silly — and be my authentic self on screen.

This show is absolutely incredible to me because of its cult following. So many viewers see themselves in these characters and are so committed to the story. To be working on a show with such incredibly talented artists, both in front of the camera and behind, telling these stories that reach so many people is such a blessing.

I took part in the August Wilson Monologue Competition my freshman year of high school and I was hooked. To be introduced to the world of Black theater with, in my opinion, the best playwright of our time. We were telling the stories of our ancestors that were written for all of us by one of us. I am so grateful to Kevin Jones, Kenny Leon, Chantal Degroat, Russell Hornsby, Victor Mack, Vin Shambry. The list goes on.

Viola Davis and Angela Bassett. The scene that comes to mind right away is a scene with Ms. Davis in “How To Get Away With Murder.” In an immense moment of raw truth, Annalise Keating stands in her hotel room, beats on her pillow and demands that she forgive herself. I was so stunned and had to run the scene back multiple times. I am in awe any time a scene is honest.

I think it’s the foundation. My past informs how I respond to certain events and what actions I take. So once I have developed a character and I know where they are going, I will try to align my life experiences with the character. Sometimes, you have to just play, which is why acting is so much fun! But usually there will be a connection somewhere.

I think overall “This Is Us” is a great show. I believe it’s a generational show. What I love about it is its honesty. You have conversations that most of us are afraid to have or talk about things most of us humans are afraid to face.

I don’t remember an “a-ha” moment. I think my mom remembers moreso than me. She keeps talking about this time where I was about 2 and we were watching “The Incredibles” together, and she saw me reciting one of Frozone’s scenes. She was so surprised that eventually she got me into a local acting course.

I was just talking to my mom about Samuel L. Jackson about his scene in “Coming to America” and how incredible it was. He took his moment and amplified the movie — as if it needed to be amplified. It seems like with everything he has put out (at least from what I’ve seen), he puts a lot of heart into his characters. I find it very disappointing how overlooked his gift is by the critics and the academy and the higher powers in this industry. But even with all that, his greatness is still recognized. There’s also Diahann Carroll, Cicely Tyson, Danny Glover, Denzel Washington and other greats.

I try to understand people’s unusual ways. I love a good challenge. So whatever gives me that. A new role that kind of puts me on the spot to open up or branch out — explore a little more than what I have done before. Let my mom tell it, I’m a sponge. So I can absorb different types of information from different types of people. I would personally say that I am selective in that.

“This Is Us” had a huge reach and put my acting on display for the world to see, which opened doors for me and for that I’m forever grateful. “This Is Us” has taken me places that other projects have not, like many award shows, for example. And there’s a lot of eyes on me now, so I got to be a good leader.

The show taught me to have empathy because every character had a story. I don’t want to judge people based on the surface. I want to understand where they are coming from. This show has meant a lot to me in showing me how to learn from people.

Mr. Jamie Foxx! And Mr. Samuel L. Jackson! Both always deliver breathtaking
performances. But the scene at the end in “Django Unchained” where they face off blows me away! Two of my faves together and so believable; I’m always inspired by them! I got the chance to meet them before, too, and even better that they were kind to me.

I identify as a child of God first, so my faith plays a huge role in my whole life and the path I want to walk. It’s also how I choose the roles I want to perform in. I pull from my own life’s lessons and experiences to connect with every character I play. I trust God for every yes and no I get in this business, simple.

“This Is Us” changed my life by allowing me the opportunity to experience many different things at such a young age. I have two SAG Awards sitting in my room that I am extremely honored to have received with my castmates. I attended the Emmy Awards twice. I also had the opportunity to meet many different people in the industry whom I never thought I’d meet. Most importantly, I worked alongside amazing actors and crew that I learned a lot from over the six seasons of the show.

What “This Is Us” has meant to me was family and how important it is to support one another. Every family has their ups and downs; however, having people around that genuinely care and are there for you helps you navigate everything else. You are always connected to those who come into your life, whether it be in sad ways and or happy ways, but that is what life is about.

The “a-ha” moment when I realized I wanted to pursue acting didn’t only happen once. It happened every time my mom or dad drove me onto the Paramount Studios lot. I live in San Diego and go to public school, so when I was on set I’d always feel as though it wasn’t real because afterwards I would be back at home and school doing the everyday things that I am used to. So, I’d definitely say the six years I spent on “This Is Us” was an “a-ha” moment where I felt like I could see myself pursuing this.

Ms. Keke Palmer is an actress that inspires me. I recently watched “Nope,” and she was absolutely amazing. I then went back and saw that she was young like me when she started in the industry. So I watched “Akeelah and the Bee,” and she blew me away. The quote that Dr. Larabee made her read in the movie really sat with me because it was so inspirational. What it meant to me was, you are just as worthy as the next person, do not doubt yourself because you are special too and deserve to feel that way. The way her teacher, the principal, Dr. Larabee, her brothers, the community, Javier, and finally her mom and Dylan came together to support her was so inspiring. I also love Ms. Taraji P. Henson and her scene in “Hidden Figures” where she has to explain why she goes to the restroom and it takes 40 minutes. She took that scene, owned it, and made us all feel how the separation between Blacks and whites was during that time, not only in regards to the restroom but everything else too. Her character also made Mr. Al Harrison feel her pain and he changed the culture in NASA.

My identity and personhood informs my work because it helps me know who I am as an individual and where I come from. I stay true to myself and know my self-worth. When it comes to work in the entertainment industry, I am mindful of how I treat others and how I would like to be treated as well.

“This is Us” changed my life in so many ways. For one, booking that role was confirmation that this dream I had for my life was indeed a dream that was within my reach. It was possible. “This Is Us” opened that door for me and expanded my network, heightening my desire to understand the production of filmmaking.

“This Is Us” will always be very special to me. For me, the show represents faith, opportunity, purpose and development. At 10 years old, I didn’t realize that I was walking into my purpose — I just knew that I was having fun doing what I love. Today, I know without doubt, that “This Is Us” was the beginning of a beautiful journey.

Honestly, there was no “a-ha” or “lightbulb” moment when something clicked and I realized I wanted to be an actress. For as long as I could remember, I knew I wanted to act. I remember my parents trying to put me into every activity, but nothing ever stuck. I eventually found my way to an acting class with an old coach of mine — it was in the smallest studio apartment and only a few people in the class, however, I felt most comfortable in that space. I found myself there.

I believe that as a storyteller, your identity and individuality will always influence your work. Some might even call it the biggest contributor. We are individually made up of unique experiences, ways of life, influences, language, communities and explorations. As humans, we experience every emotion. The highs and lows of my past all influence and help to enhance my performances.

(RNS) — On Tuesday of this week, the Church of Jesus Christ of Latter-day Saints instituted a number of revisions to the temple endowment ceremony. Over the last few days, I’ve been interviewing people off the record about their impressions of the changes.

What follows is a provisional overview. Latter-day Saints don’t go into the temple with a notebook or a recorder — or at least, they shouldn’t. Though the people I spoke to tried, to the best of their recollection, to tell me what was new and different, this is not an exhaustive list, and in at least one instance, their memories conflicted with each other (see “More diverse racial representation,” below).

Out of respect, this preliminary assessment doesn’t reveal what the signs and tokens are, as those are the elements of the temple ceremony that participants covenant not to reveal. But there are quite a few changes to other aspects of the temple endowment that merit discussion.

Informed consent. The ceremony now opens with a list of the five covenants that individuals will be making in the temple during the ceremony. In the past, there was a point in the ceremony when anyone not willing to make those covenants was invited to leave (though I have never seen anyone in the temple actually depart at that point). But until this week, the covenants themselves were not described beforehand, prompting many to note that it’s unfair to expect people to decide whether to stay or leave when they’re not told in advance what the promises will be.

The church has been moving toward greater transparency on this for several years now, beginning with Elder David Bednar’s refreshingly open General Conference talk in 2019 that listed the five covenants. And in 2021, the covenants were added to the church’s handbook of instructions.

A more focused emphasis on Jesus. All of my interviewees noted that the images on screen now include multiple depictions of Jesus, some of which they had never seen before. “When they flashed Jesus on the screen, it was at times when the covenants mentioned Jesus,” one woman told me. The revised endowment seeks to explicitly link Christ as the reason why individuals make and keep covenants; one man said he came away with the impression that the covenants have been recast as a way to have a relationship with Christ and to become more like him.

In addition to the images of Christ, there are more spoken references to him, including at the very beginning, when an announcement makes it clear that the recent changes in the temple liturgy are in alignment with the church’s doctrine of Jesus Christ.

The War in Heaven. The revised endowment includes, for what I believe is the first time, a ritual performance of what Mormons call the War in Heaven. While attendees see images of the galaxies on screen, they hear the voices of Elohim, Satan and Jesus discussing how to save humanity. Jesus says he will do what he can and give the glory to God; Satan says he will do what he can but he will receive the glory for himself. God decides to send his son.

No touching until the very end. Interviewees all said the endowment is less participatory than it used to be. Measures that were introduced during COVID-19 to reduce touching seem to have been made permanent. There is no hand-to-hand touching until the very end, when individuals pass through the veil.

But that’s not the only simplification. There is less movement as a whole. Whereas in the past, patrons were asked to stand up and sit down at various points in the ceremony, and to adjust pieces of their ceremonial clothing, now the endowment is more streamlined, and participants are seated for most of it.

No witness couple. In the past, a part of the temple ceremony was modeled by a “witness couple,” usually but not always a husband and wife, who were asked shortly beforehand to step into that role. This couple’s job was to demonstrate the signs and tokens for other people. Those live roles have been eliminated, with the demonstration instead being performed on screen by Adam and Eve.

The main officiant’s role has also been reduced in favor of video and prerecorded audio. “Their (the officiant’s) only role was starting the session and then saying the prayer at the end of the session,” one person told me. Another said there were still four live ordinance workers in the session, but that most of them didn’t have much to do until the veil portion at the end.

Adam and Eve in temple clothes. The conclusion of the creation story is no longer the end for Adam and Eve as major actors in the ceremony. They now appear on screen after the creation story has finished. They appear in an indoor setting that one person described to me as a temple altar but another said was “nondescript.” They are wearing temple clothing and receiving the tokens from the biblical Peter, who is also a character on the screen rather than being represented by a live officiant as in the past.

One woman said she was encouraged to see that Peter is shown giving the token to Adam, and then to Eve in turn, which is more direct than she remembered. “I think they are trying to be more inclusive, showing that we each make our own covenants, rather than women having to go through someone else.”

Multiple reminders that this is symbolic. My interviewees said there were several points when the script reminded people that the temple endowment is symbolic — and mentioned how those symbols pointed to Jesus Christ. For example, “it talked about how the veil symbolizes Christ, and how we have to go through Christ in order to get to God,” one person reported. She said that segment drew upon a passage in the Book of Hebrews.

“Loud laughter” is gone! In what may be my favorite change, there’s no longer a warning for temple attendees to guard themselves against loud laughter and light-mindedness. My interviewees did not report exactly the same new wording but said the warning now cautions us to avoid something akin to “unworthy thoughts and actions.”

More diverse racial representation. In my very first interview, a woman told me how excited she was to see two women demonstrating on screen how to go through the veil and that the ordinance worker being depicted was “a Black woman with gorgeous, long braids.” The very next interview was with a woman who told me how excited she was that of the two men shown demonstrating how to go through the veil, one appeared to be Asian.

Other interviews seemed to confirm one presentation or the other, leading me to suspect that there are at least two different versions of this part of the ceremony and that the church is working to depict greater racial diversity.

Continuing movement toward gender equality. The temple ceremony changed in 1990 to remove the promise that women were to “obey” their husbands, and again in early 2019 to jettison the language that they were to “hearken” to their husbands while their husbands hearkened to God. What my interviewees noticed this time was that when God discusses Adam, he also includes Eve (“Adam and Eve and their posterity” was one remembered phrase).

And it’s not just that Eve is a helpmeet for Adam. That’s still there, but “it says they are to be companions and helpmeets for each other,” one person said, telling me it felt more equal and reciprocal.

More exhortations to obey. Temple attendees said the endowment’s wording now includes several reminders to obey. Eve, for example, has a new line in which she talks about the blessings Latter-day Saints will receive if they are obedient.

Some small changes to the creation narrative. Some people told me that “the firmament” seemed more emphasized in the creation story than in the past — that there is material about the days of creation that they didn’t remember being there before.

Encouragements to come back to the temple. The script now seems to include reminders to attend the temple often. My interviewees said this happened near the end of the ceremony, and also during the prayer circle. The prayer included a blessing that the attendees would want to return and serve in the temple often.

Still the same length. My interviewees said that despite some time-consuming elements being cut, such as the passing of tokens by hand to everyone in the room, the additions mean the endowment is running about the same length it was shortened to in 2019, roughly 90 to 105 minutes. (Be comforted, though: it once lasted between three and nine hours.)

As I said, I’m sure there were other changes as well. I hope you’ll let me know what those are in the days to come, if you can.

What is certain is that the temple ceremony has evolved significantly in the past (see this important “Dialogue” article for a history of those shifts, like dropping blood oaths and the “law of retribution” in 1927 to incorporating the lava scene from the Disney movie “Fantasia” in the 1950s as part of the creation story).

What has surprised me this week is not that changes are occurring, but that it has only been four years since the last revisions were rolled out. It’s an interesting acceleration that matches the explosion of LDS temple building during President Russell M. Nelson’s administration.

CLEMSON — With events and meetings held across three days, the Clemson University Board of Trustees created new programs, received updates on university research and facilities, and allocated money for new buildings at its winter 2023 meeting.

Clemson University moving ahead with veterinary school

The board of trustees approved the $750,000 feasibility study for creation of South Carolina’s first school of veterinary medicine.

Clemson received $10 million in state funding last year to explore the possibility of creating the college. Site selection, near the T. Ed Garrison Arena and Expo Center in Pendleton, was completed in October.

Additional funds of over $45 million have been requested to move forward with hiring a construction manager at risk, engineering and hiring founding staff members, according to steering committee co-chair Boyd Parr.

Retired state veterinarian Boyd Parr is co-chair of the steering committee to create South Carolina’s first veterinary school at Clemson University. The timeline he presented to the Board of Trustees in February 2023 indicates the first degree could be awarded in 2030. Caitlin Herrington/Staff

Parr, who retired as state veterinarian and university director of livestock poultry health in July 2021, told the trustees there is a veterinarian shortage predicted to reach 15,000 — leaving as many as 75,000 pets without care — by 2030.

With the timeline presented to the trustees at the February meeting, Clemson University’s first veterinary school graduate could receive their degree that same year.

Clemson University hires diversity VP

Felicia Benton-Johnson was approved as the university’s vice president for diversity and inclusive excellence. Benton-Johnson comes to Clemson from Georgia Tech, where she served as assistant dean and director of the Engineering Education and Diversity.

Degree programs added, amended to address demand

After much discussion from the committee, the trustees approved an online pilot summer school program to assist students with catching up and getting on track with their degrees.

With $200,000 of dedicated funding, the classes will not be dropped because of low enrollment, Provost Bob Jones said. It will allow students and faculty both to make solidified summer plans.

Trustees decreased the number of required hours from 56 to 35 for the Master’s of Real Estate Development degree and added programs for a Masters of Music Education and bachelor degree in data science.

Jervey renovation, athletic wellness addition coming

The board approved $750,000 to establish the project design budget for renovation of 14,000 square feet of Jervey Athletic Center and construction of a 50,000-square-foot “performance and wellness center.”

The addition would house 400 of Clemson’s 550 athletes, including all of its Olympic sports. Rather than renovating Jervey – a 51-year-old building – athletics director Graham Neff told the trustees the best investment was a new building that will be south of Jervey and that will house sports medicine and other athletic programming.

Phase 2 of the project could come before the board as early as July, Neff said.

Clemson Athletics partnering with Eastern Band of Cherokee Indians, Harrah’s

The university will enter into an athletic sponsorship agreement with the Eastern Cherokee Band of Indians, which operates Harrah’s Casino Resort in Cherokee, N.C.

The $169,000 investment creates a branded scholarship program in the College of Engineering, Computing and Applied Science, and increases brand awareness and summer internships.

Harrah’s logos will appear at football, softball, baseball and men’s and women’s basketball games, though no Clemson logos will be associated with any gaming at the casino.

The partnership ends in 2025. Its future investment amounts are unclear.

University breaks ground on new $50M alumni, visitors center

With the sunset reflecting off Lake Hartwell, the university held a ground-breaking ceremony Feb. 1 at the Madren Center for its $50 million alumni and visitors center.

To be built with views of the 18th hole on Walker Golf Course near the Madren Conference Center, the 100,000-square-foot facility is scheduled to be completed next fall.

Rendering of the new alumni center at Clemson University. Clemson University/Provided

It will serve as the first impression for future Clemson students and their families, President Jim Clements said at the ceremony, and the goal is for it to immediately feel like home.

It will house the Clemson Alumni Association, Class of 1944 Visitors Center, Board of Trustees office, Advancement, Clemson University Foundation, admissions and the Michelin Career Center.

Florida Republican Gov. Ron DeSantis announced on Tuesday that he plans to ask the state legislature to revoke funds from public colleges in the state if they offer lessons on diversity, equity and inclusion.

The proposal would be part of a larger package that the state legislature plans to pass in the spring, The Associated Press reported.

DeSantis, who is viewed as a viable Republican candidate heading into the 2024 presidential election season, has staked his political future on attacking policies meant to benefit communities of color and LGBTQ people, most notably through attacks in the sphere of public education. Last March, DeSantis signed HB 7, a law commonly referred to as the “Stop WOKE Act,” which forbids educators from providing lessons on racism or LGBTQ issues if it offends parents in those districts.

The law has had chilling effects, forcing teachers and school librarians to ban books, and prompting many districts to reevaluate lessons that they believe could run afoul of its provisions.

In discussing his plans for college campuses, DeSantis disparaged educators who teach about the history of racism in the U.S.

“I think people want to see true academics and they want to get rid of some of the political window dressing that seems to accompany all this,” he said.

DeSantis’s plan would revoke funding from institutions of higher learning in the state if they offer classes on diversity, equity or inclusion — a broad definition that could have a vast impact on colleges’ academics.

DeSantis also said that he wants to see such programs “wither on the vine” from a lack of state funding.

DeSantis’s announcement comes weeks after the Florida Department of Education (FDOE) — working on guidelines he helped create — rejected an Advanced Placement (AP) course introduced by the College Board, a nonprofit that creates college-level classes for high schoolers throughout the country. The company had attempted to expand a course on African American history, introducing a curriculum that would examine contributions from Black Americans in “a variety of fields [including] literature, the arts and humanities, political science, geography, and science.”

FDOE rejected the course, stating that it ran “contrary to Florida law” (likely alluding to the Stop WOKE Act) and that it “significantly lacks educational value.”

On Wednesday, the College Board said that it would remove aspects of the curriculum, including lessons on intersectionality, in hopes that FDOE would accept it.

“I am now disappointed to learn that a major section on the end of this curriculum was removed from an earlier version,” David Blight, a professor of history and African American studies at Yale University, told NBC News.

Historian Barbara Ransby condemned DeSantis’s rejection of intersectional Black history lessons in an op-ed for Truthout that was published on Saturday.

“With a nod toward his homophobic base and illustrating his own ignorance, DeSantis asked the question, how could queer theory be relevant to African American studies?” Ransby wrote. “Perhaps if he had taken an African American studies class somewhere along the way he would know the names of world-renowned award-winning writers, artists and courageous activists whose long careers and eloquent words answer that question from myriad angles.”

Ransby added that the Florida governor could have benefited from such lessons when he was younger:

If he had taken an African American studies course in the 1980s and ’90s when he was in school, perhaps DeSantis would also know about the long and bloody history of racism in Florida, and the righteous freedom fighters who organized against it. These struggles were not just against ‘hate’ or prejudice; they were a response to systemwide discrimination, greed and domination.

DeSantis “is a part of an unabashedly ignorant political sect comprising people who are averse to evidence, research and empirical facts that don’t suit them,” Ransby continued.

She went on:

DeSantis’s dangerous actions are textbook proto-fascist measures. His militant opposition to any teaching of the Black freedom struggle is also reminiscent of the South African apartheid regime’s book banning and curricular and speaker censorship, which limited the circulation of ideas that could undermine the legitimacy of an unjust system.

Ransby’s piece pointed to young organizers in the state — including members of the Dream Defenders, the Florida Rights Restoration Project, Florida Rising and the Power U Center for Social Change — as “forces of the future” who are pushing back “against the bullish backwardness” of the governor.

“We have to support them as much as we oppose the racist and repressive agenda of the right,” she said.

Vonda Bailey didn’t need a long deliberation to issue her judgment about the negative stereotypes surrounding community colleges. 

“I do not agree with the ‘stigma’ whatsoever,” she said. “And that’s why every time I speak about my college experience, I always start with, ‘I attended a community college first.’ People are like, ‘Wow, you did?’ I’m like, ‘Yeah, and it was one of the best experiences of my life.’” 

Dallas College agrees on the ruling and sentiment, waiving its right to appeal as Bailey becomes another success story who traces her educational roots to the school. 

After graduating from Carter High School in Dallas, Bailey went to Dallas College’s Mountain View Campus, stacking up credit hours for two years and then earning a bachelor’s and master’s degree from the University of Texas at Arlington. She went on to graduate with a law degree from Texas Southern’s Thurgood Marshall School of Law. 

Now, after several years of running her own practice, she’s become “Judge Vonda Bailey.” Bailey was elected judge for the 255th Family District Court in Dallas County. Her new courtroom is the corner suite on the fourth floor of the George L. Allen, Sr. Courts Building in downtown Dallas. 

“It’s a great honor to become a judge, especially since I was born and raised here,” Bailey said. “To see people like Dr. Parker (Jasmine Parker, Dallas College’s senior director of diversity, equity and inclusion), and different people in the community who were my teachers, my dentist … being able to serve them in this position is amazing.” 

Inspiring Others 

For Bailey, being a Black woman in a position of power is more of a responsibility than a sense of pride. As we kick off Black History Month, she welcomes the idea of becoming a source of inspiration for younger generations who could see themselves in her shoes one day, similar to those who influenced her journey. 

“I’m happy for myself but, for me, what I’m doing is a testimony for someone else,” Bailey said. “It just so happened that it’s my story being written, but I do believe that what I’m doing is encouraging someone else. 

“Along the way, we all get discouraged and might say, ‘Maybe I’m not worthy enough to go to law school.’ Well, I would want people to read my story and see, you know what, I can do this. I can get it done.” 

At a young age, Bailey looked up to famed lawyer Johnnie Cochran as he defended O.J. Simpson during his murder trial in the mid-1990s. At Texas Southern, she loved attending a law school named after Thurgood Marshall, the first Black Supreme Court Justice. 

“Having ‘Thurgood Marshall’ on my diploma makes me feel like I have big shoes to fill,” Bailey said, smiling. “I’m spending every day trying to fulfill the things that he did, not necessarily on his level — he’s the man — but I want to do my part in giving back.” 

Impacting Lives

So far, so good in her desire to give back on multiple levels. 

As a judge, her role is serving and being a resource for the community. 

“When people come to court, whether it’s a Child Protective Services (CPS) situation, a custody situation or a property issue where you have to divide the property in a divorce, you’re a resource,” she said. “Whatever that individual case needs, as the judge, you’re supposed to see what it is that you can help them do within your knowledge and the realm of the law.” 

From a personal standpoint, Bailey is giving back to a number of causes close to her, including creating a scholarship for her law school. She and a fellow classmate formed the Bailey-Clarke Bar Scholarship to award current third-year students financial assistance with their Texas Bar related expenses. To date, they have awarded more than $50,000 in scholarships. 

Bailey likes being in a position where she is able to make an impact on the trajectory of someone’s life. 

“You can do things that change somebody’s life, positive or negative,” she said. “Especially in a position like this, you can get too focused on the law. This is what the law says. But what can we do in our discretion that could actually benefit or help these people? Maybe a child who is acting out at school or doesn’t feel like they have anyone they can trust or depend on, they meet me in a courtroom, and they see themselves 20 years from now in my chair. So, when I think about empowerment, it’s how you look to other people and how you assist other people.” 

What’s next? 

Bailey is just beginning her journey as a judge. 

Is her dream to one day follow in the footsteps of Thurgood Marshall? Or go the TV route and become the next Judge Mathis? Hey, Bailey has a popular YouTube show with more than 400,000 subscribers called “Support Court with Judge Vonda B” that educates people about support laws in Texas. 

“That’s an idea!” Bailey said, laughing at the TV suggestion. “I’ve always loved TV. Even as a little girl, I told my grandmother that I wanted to be on TV. I love Oprah. I could see myself doing something like that later on.” 

For now, though, it’s about making the most during her term as a judge. As she described, she’s a millennial with the mindset that the “sky’s the limit.” 

“I don’t know where this journey is going to take me, but I will tell you I’m very excited to see where it lands me,” she said. “I know wherever it lands me, it’s going to elevate me to be able to help people and give back on a greater scale. I’m really big about service.”

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