Designer Kyemah McEntyre (l) designed Power and BET Backstage Host Naturi Naughton's Dress for the 2015 BET Awards.
(Photos: Google Images)
Designer Kyemah McEntyre (l) designed Power and BET Backstage Host Naturi Naughton’s Dress for the 2015 BET Awards. (Photos: Google Images)
Fresh from our fabulous files, Power star Naturi Naughton made a bold statement at the 2015 BET Awards, choosing to wear an African inspired dress by Internet sensation and teen designer Kyemah McEntyre. You may remember McEntyre’s African inspired prom dress that went viral on the Internet because of the beauty, detail and quality of the work. McEntyre’s overall look was topped off by by a beautiful natural hairstyle (afro) and make-up. In a word, the young lady was fierce.
Naughton, who hails from McEntyre’s home state of New Jersey, commissioned McEntyre to create a custom gown for the star for the 2015 BET Awards. The Twitterverse lit up when Naughton appeared on the red carpet, wearing a multicolored mermaid style gown designed by McEntyre. Naughton topped off the beautiful look with a braided updo.
Kudos to Naughton, star of a hit television show, for hiring a dynamic, young black woman to design a gown for such a special occasion. Supporting young people in their endeavors is always hot. The award for best decision, best dress and best heart goes to Naughton.
This post was written by Nsenga K. Burton, Ph.D., founder & editor-in-chief of the award-winning news blog, the Burton Wire. Follow her on Twitter @Ntellectual.
USA Today is reporting that Bree Newsome, a black female activist, climbed a flagpole Saturday in Columbia, S.C., and briefly removed a controversial Confederate battle flag from in front of the Statehouse.
USA Today reports:
“After scaling the 30-foot pole and retrieving the flag, she and a male companion were arrested by State Capitol police who waited for her at the bottom inside a small, wrought-iron fence.
The flag, which is protected by state law, was raised again about 45 minutes later. A pro-flag rally was previously planned at the site Saturday morning.
The activist, identified as Bree Newsome, issued a statement by email to the media around the time of her arrest.
“We removed the flag today because we can’t wait any longer. We can’t continue like this another day,” the statement said. “It’s time for a new chapter where we are sincere about dismantling white supremacy and building toward true racial justice and equality.”
Sherri Iacobelli, a spokeswoman for the state Department of Public Safety, said that Newsome, and a companion, James Ian Tyson, 30, both from Charlotte, were charged with defacing monuments on state Capitol grounds.”
Bree and her companion face a $5,000 fine and up to three years in prison.
Filmmaker Michael Moore has offered to pay all legal fees and Rev. Jesse Jackson tweeted support for the activist.
The Burton Wire loves that this young woman did what a sitting governor will not do. #teambreenewsome
Pioneering educator Marva Collins has died at 78.
(Photo: Google Images)
Pioneering educator Marva Collins has died at 78. (Photo: Google Images)
ABC News is reporting that pioneering educator and activist Marva Collins has died. Collins started West Side Preparatory School in Chicago’s Garfield Park neighborhood in 1975. She also founded a style of education that came to be known as the “Collins Method.”
The Collins Method focused on phonics, math, reading, English and the Classics. Collins life was the subject of a 1981 made-for-tv movie. The movie starred legendary actors Cicely Tyson, who played Collins and Morgan Freeman who played her husband Clarence. Tony Briscoe of the Chicago-Tribune writes:
Born Marva Knight in Alabama, Mrs. Collins graduated from Clark College, now Clark Atlanta University.
She moved to Chicago after graduation and took a position as a medical secretary. She later became a teacher in Chicago Public Schools, teaching second grade at Delano Elementary School on the Near West Side, her son said.
She became frustrated with the classroom approach at the public school, her son Patrick Collins said.
‘It was more playtime, less learning,’ he said. ‘So she cashed in her $5,000 teacher pension, moved her tenants out and taught out of the second floor of her own home. That was her vision.’
Under her guidance, Westside Preparatory School flourished and became nationally known for its success at taking children from impoverished neighborhoods who were often considered unteachable and turning them into solid students.”
Collins declined an offer to serve as Secretary of Education during the Reagan administration and to serve as superintendent for Los Angeles Unified School District, deciding to stay where she felt most needed.
Legendary singer Prince was so impressed with Collins’ work that he donated $500,000 to her school in 1985. The entertainer and Collins maintained their friendship for years. Prince featured Collins in his music video ‘The Most Beautiful Girl,’ a song from his 1994 album, The Gold Experience.
Collins is the recipient of numerous honorary degrees including Dartmouth, Howard University, Notre Dame and Amherst College. In 2004, President George W. Bush awarded Collins, who was also an author of several books, the National Humanities Medal.
Collins is survived by her sons Patrick and Eric, sister Cynthia Sutton and mother Bessie Mae Johnson. She was preceded in death by her husband Clarence in 1995 and daughter Cynthia Collins.
The iconic educator died of natural causes on Wednesday while in hospice care in Beaufort County, S.C. She was 78.
This post was written by Nsenga K. Burton, founder & editor-in-chief of the award-winning news blog, the Burton Wire. Follow her on Twitter @Ntellectual.
Matthew Ajibade, 21, a student and artist was killed while in police custody in Savannah, GA in January. (Google Images)
Matthew Ajibade, 21, a student and artist was killed while in police custody in Savannah, GA in January. (Google Images)
Reuters is reporting that two sheriff’s deputies and a healthcare worker have been indicted in the death of Matthew Ajibade, 21, who was killed while in police custody in Savannah, GA.
Jason Paul Kenny, Maxine Evans and Gregory Brown were all charged with involuntary manslaughter in the death of college student Matthew Ajibade at the Chatham County jail, according to a copy of the indictment published online by the Savannah Morning News. On Jan. 1, Ajibade was taken into custody when police responded to a domestic violence call. Ajibade’s girlfriend says that she was calling for help because Ajibade, who had bipolar disorder, was having a manic episode.
The author writes:
The indictment said Kenny used excessive force when he tasered the restrained Ajibade, killing him. It added that Evans and Brown, the healthcare worker at the Chatham County jail, failed to monitor Ajibade after the assault.
The next day, Evans and Brown altered logs at the jail indicating that checks were made on Ajibade’s welfare that had not been conducted and Brown lied to an investigator about those checks, according to the indictment.
An autopsy by the Georgia Bureau of Investigation revealed Ajibade’s death was caused by “blunt force trauma” with injuries to his head.
Nine sheriff’s deputies were fired in early May over the incident. The Morning News reported that Kenny and Evans were among those nine, and that three other deputies involved in the incident had earlier left the department.
Mark O’Mara, the family’s lawyer, told the Morning News on Wednesday that he and Ajibade’s family were not satisfied with the charges.
‘(The district attorney) failed to get a felony murder indictment, and that is her responsibility,’ O’Mara said. ‘They are disappointed that nine out of 12 people involved in their son or cousin or brother’s death have gotten away without any criminal liability.’
Officials said Ajibade fought with deputies while being booked and had to be restrained. After making a check on Ajibade in the cell, deputies found him unconscious. He died at the jail.
Bassist, producer and bandleader Thundercat (Photo provided by Atlanta Jazz Festival/Hatchett PR)
Bassist, producer and bandleader Thundercat (Photo provided by Atlanta Jazz Festival/Hatchett PR)
When Thundercat stepped onto the main stage of this year’s Atlanta Jazz Festival, his aura resembled something out of a 1970s funk LP but styled directly from a thrift shop clearance rack. The otherworldly bassist, producer and bandleader hailing from Los Angeles appeared oddly dressed in shiny head armor with dangling tassels over his lopsided Afro, a shawl, gray sweatpants, multicolored socks and white flip flops.
The music, on the other hand, was a cosmic slop that could have soundtracked the stage’s complementing intergalactic strobe lighting. Thundercat played the bass with rapid fire dexterity, pressing his fingers against the bass guitar’s body and frets. His aggressive vibrato produced mesmerizing, rippling riffs. Once Thundercat stepped to the microphone, he delivered a soulful falsetto reminiscent of Philip Bailey, vocalist for Earth, Wind and Fire.
Sweating profusely following his energetic 90-minute performance, Thundercat, a former member of the punk band, Suicidal Tendencies, took a few minutes to assess his music and melodic style of bass playing. “It’s something different,” he says removing his Afrka Bambaataa-inspired headwear, “definitely jazz-influenced but a new perspective.”
“That’s how I grew up, so there’s no way it’s not gonna translate somehow. Sometimes I feel weird doing it, but I make myself do it.” Behind the eccentric costuming and space-aged musicianship is the soft-spoken and super cool Stephen Bruner. His father and older brother are both accomplished drummers and session players for a myriad of legendary entertainers.
Thundercat’s exceptional talent landed him a break as a teen touring with one of his musical idols, Stanley Clarke. The bassist originally wanted to attend art school, but his dad convinced him to pursue music instead.
The easygoing musician says he always knew he would do something creative as a career. “My dad was like, ‘Nah, you’re doing music,’” jokes Thundercat, adding Sun-Ra, Parliament-Funkadelic, Ron Carter and Jaco Pastorius to his list of influences. “It was the inevitable. I still draw and do stuff like that. It’s been my passion my whole entire life.”
The experimental artist’s jam band style of performing landed him on tours and in recording sessions with Erykah Badu, Flying Lotus, Wiz Khalifa, Snoop Dogg and most notably, Kendrick Lamar. The humble performer paused briefly in the midst of name dropping, referring to Badu as “one of the biggest influences of his life.”
“I thank her as much as possible,” says Thundercat seated comfortably under a tent adjacent to the stage. “She means a lot to me, always has been since I was a teenager.”
Flying Lotus shares Thundercat’s passion for creating, leading them to frequently collaborate on each other’s music. Thundercat’s solo projects, The Golden Age of Apocalypse and Apocalypse, are both recorded under Flying Lotus’ Brainfeeder imprint.
“[Flying Lotus] is a bad dude,” says Thundercat. “He’s influenced by the smell of space.” As Lamar was recording his sophomore LP, To Pimp a Butterfly, it was commonplace for Thundercat to introduce the rapper to various jazz and funk albums between recording. Those in-studio chats and sessions between Thundercat and Lamar provided the backdrop for the album’s sound.
The bassist undoubtedly considers Lamar to be “carrying the torch for the definition of Hip-Hop.” Thundercat believes an album such as To Pimp a Butterfly could continue in helping younger audiences become more curious about discovering previous generations of musicians and artists. “Kids that are coming up under us are literally gonna get a chance to know where stuff came from,” says Thundercat, “and it’s a beautiful thing to see that.”
“Hip-Hop is on a big wheel. It’s turning in a very artistic and creative direction, and people are really hungry for that. It’s not going anywhere. It never died just like jazz. It’s always something new to discover.”
Odd Future member Earl Sweatshirt is another young talent Thundercat acknowledged. “[Earl’s] a beautiful soul, man,” says Thundercat. “He’s got a really dope creative mind, and it’s really nice to see younger cats with that.”
“Sometimes they might not know exactly how to make it translate, but that’s the magic of it. We sit and tap out over different things. It’s interesting to watch him grow.”
Thundercat just released his “surprise” project, The Beyond/Where the Giants Roam, with guest appearances from Flying Lotus and jazz legend Herbie Hancock. He remains inspired to evolve and create his own lane, crediting his bandmates for being equally as adventurous and dedicated to playing music as he is.
Playing and performing music are both “fun” for Thundercat. The key, he says, is to go into music without any formula or expectations.
“Now that everybody knows what the heck I’m doing, I go with an open mind and an open slate,” says a very relaxed Thundercat. “Playing a six-string bass is already a weird thing, so I try to leave it that way.”
This post was written by Christopher A. Daniel, pop cultural critic and music editor for the Burton Wire. He is also contributing writer for Urban Lux Magazine and Blues & Soul Magazine. Follow Christopher @Journalistorian on Twitter.
Cathleen Dean is helping to define film's future in South Florida with the Miami 48 Hour Film Project.
(Photo: Google Images)
Cathleen Dean (l top), S. Lizabeth Martin (r top), Grace M. Castro (l ) and Yvonne McCormack (r) are women leading the film festival movement in South Florida. (Photos: LinkedIn, Facebook and Google Images)
The lack of film incentives in Florida sparked an exodus of film and television industry professionals to friendlier locales like Georgia and Louisiana. This, coupled with the relocation of the American Black Film Festival (ABFF) from Miami to New York, has cultivated the rise of a scrappy creative class, determined to create opportunities for production and exhibition in South Florida where tax incentives for film industry are far more attractive.
Among those leading the battle hymn are women of color. South Florida boasts four film festivals either created or run by women of African and Hispanic descent. S. Lizabeth Martin, noticed the void left by the departure of ABFF, and sought to develop a platform for black film voices to be heard. In July 2014, her concept became the Boca Black Film Festival (BBFF).
“The more I started talking about what I wanted to do, more people said they wanted to be on board,” says Martin. “So it went from a one-day, educational session only to actually having a film competition.”
Filmmaker Cathleen Dean also understands the importance of film support, the mission of the Miami 48 Hour Film Project (48 HFP).
Unlike Martin, Dean joined the already established festival after competing in 2009. Held in 125 cities globally, the 48 HFP is the oldest, timed film competition in the world. Teams have forty-eight hours to write, shoot and edit a film, making for what she describes as a “wild, sleepless weekend.”
“As a producer, it’s been an amazing experience,” Dean says. “The short time constraint inspires tremendous creativity – a platform to get work done.”
Dean aspires to see more filmmakers of color participate, something she hopes that her presence as festival producer will help foster.
Yvonne McCormack left a job as an executive to embark upon something that would uplift and support women filmmakers. Having worked in television, she saw large gaps in terms of women’s representation.
“I thought, let’s put something together where women can celebrate their accomplishments.” With that thought, the Women’s International Film Festival (WIFF) was born in 2005.
Like the other festivals, WIFF has the daunting task of raising its funding. Yet it persists as an important venue for films by and about women. She plans to implement WIFF on Tour to bring the festival to select cities.
The women in Grace Castro’s family and her love of fashion were the catalysts for the Miami Fashion Film Festival (MIAFFF) in 2013, which explores the complexity of the multi-billion dollar fashion industry.
“The goal is to bring awareness to a genre of film which is evolving – fashion film,” says Castro.
MIAFFF has created buzz, garnering eighty global submissions of fashion-themed documentaries and narratives this year.
All four women have a passion for community outreach through tandem events and workshops. They also share a love for for the town that film forgot. S.Lizabeth Martin’s resolve speaks staunchly for filmmakers still in South Florida’s trenches.
“Rather than going some other place, we can do something here – for us and by us.”
This post was written by Dr. Chetachi A. Egwu, Associate Professor of Communication Studies at Nova Southeastern University. Her scholarship focuses on Black Internet Usage and the African image in film, with an emphasis on documentary. The Howard University alumna is the owner of Conscious Thought Media. Follow her on Twitter @Tachiada
Alterpresse.org is reporting more than 4,000 Dominicans of Haitian descent have been forcibly evicted from the Dominican Republic in the last 8 days via a border along Plateau Central. The Caribbean Community (CARICOM) is responding to the reports by asking the Dominican Republic to stop deportations.
Caribbean 360 is reporting that CARICOM has called on the Dominican Republic government to halt the deportation of Dominicans of Haitian descent and avoid creating a humanitarian crisis in the region.
‘The Community calls on the Dominican Republic authorities to adhere to the above principles and confirm the citizenship status of Dominicans of Haitian descent. The Community also calls on the Dominican Republic not to engage in the expulsion of Dominicans of Haitian descent . . . ,’ it said in a statement issued yesterday. Tens of thousands of people born in the Dominican Republic to Haitian parents have been left ‘stateless’ as a result of a 2013 ruling by the Dominican Constitutional Court, which had been made retroactive to 1929, revoking their nationality.”
Alphea Saunders of the Jamaican Observer is reporting that Jamaica will not support the Dominican Republic’s application to join CARICOM if they continue denationalizing Haitians. Saunders writes:
“Jamaica seems set to withhold any support of the Dominican Republic joining the Caribbean Community (Caricom) if that country fails to appropriately resolve attempts to denationalise hundreds of thousands of its own people who are of Haitian descent.
The Government’s position was articulated by Foreign Affairs and Foreign Trade Minister Senator AJ Nicholson during his Senate address Friday.
‘For some time there has been discussion as to whether the DR should become a part of Caricom,’ he said. ‘[But], let Jamaica say at this stage, that if this Dominican Republic/Haiti matter is not resolved in the spirit of full adherence to human rights, and adherence to acknowledged international norms, Jamaica will not support the Dominican Republic.'”
This post was written by Nsenga K. Burton, Ph.D., founder & editor-in-chief of the award-winning news blog the Burton Wire. Follow her on Twitter @Ntellectual.
Grammy-winning R&B artist D'Angelo brings 'The Second Coming' to The Tabernacle in Atlanta, GA (Photo Credit: Christopher A. Daniel).
Grammy-winning R&B artist D’Angelo brings ‘The Second Coming’ to The Tabernacle in Atlanta, GA (Photo Credit: Christopher A. Daniel)
The years that passed between D’Angelo releasing his 2000 sophomore LP, Voodoo, and 2014’s Black Messiah led many critics and fans to question whether the artist could ever relive his glory days as a leading force in R&B and soul. Those who think the artist’s elusiveness from the public eye affected his musical genius and stage presence should probably rethink that sentiment.
Simply put, D’Angelo has refined his craft. The Grammy-winning singer, songwriter, producer, multi-instrumentalist and bandleader brought his tour, The Second Coming, to Atlanta, playing before a full standing house at The Tabernacle. Backed by his mega-talented band, The Vanguard, D’Angelo brought the house down with an epic, two-hour repertoire, combining subtle protests, jam sessions, Sunday morning church service and the intensity of a rock concert.
The exceptional musical talent born Michael Eugene Archer in Richmond, VA appeared on-stage refreshed and rejuvenated. Screaming concertgoers anticipating D’Angelo’s chiseled physique and toned arms that made him a sex symbol should put the thought in the back of their minds because musicianship reigns throughout the entire performance.
Joined at the hip to his spiked black guitar trimmed in diamond-like flare, D’Angelo wore thin plats as opposed to his signature cornrows. Minus theatrics or props, he underwent a few modest costume changes including a shredded olive-colored trenchcoat, a white fedora, a white-stripped, Zorro-styled shawl and all-black baggy attire.
It is easy to assume that D’Angelo’s personal demons, on top of his management and record label changes, may have trickled into the headlines and left some residue on his showmanship. This is certainly not the case.
The 41-year-old musician’s endurance and tenacity is enough to make the audience fully aware of his staying power. He is a constant student of music who has no qualms about paying respect to his influences. His high-pitched falsetto vocals directly reflect this tutelage of Prince’s vocal range. He riffs on his axe (guitar) like Jimi Hendrix or Carlos Santana. He vamps and cues The Vanguard, his band, with precision like James Brown.
Refusing to vanish and become a distant memory in black music folklore, D’Angelo’s echoing wails are a reenactment of a Baptist minister delivering a sermon while his backing vocalists’ rippling harmonies come off as animated and operatic as Parliament-Funkadelic. D’Angelo’s silhouette while seated behind his tower of electric pianos, would make Donny Hathaway, Stevie Wonder and Sly Stone proud.
The Second Coming’s set list was comprised primarily of Black Messiah’s track listing. Preceded by an opening act, Aussie singer Meg Mac, D’Angelo’s show is exciting, energetic and full of musical chemistry. The whip-cracking, distorted funk rock selection, “Ain’t It Easy,” opened the show, one of the first of several moments where D’Angelo and Jesse Johnson, former guitarist for The Time, stand side by side, stage front, shredding strings.
“Betray My Heart” spotlighted guitarist Isaiah Sharkey’s Wes Montgomery-sounding chords backed by legendary bassist Pino Palladino’s rhythmic timing and Cleo “Pookie” Sample on keyboards. The horn section, comprised of Keyon Harrold and Kenneth Whalum III, gave The Second Coming its romantic, Miles Davis and John Coltrane-inspired croons.
The flamenco-infused soul ballad, “Really Love” preceded “The Charade,” featuring D’Angelo wearing a black hoodie, pumping his fist and namedropping several murdered black youth as the band stood with the “Hands Up, Don’t Shoot” posture.
Soul clapping, funky drum loops courtesy of Chris “Daddy” Dave and an enchanted, black lace-clad Kendra Foster singing background were a constant. A 10-minute delay left the audience unmoved. When D’Angelo returned to the stage, he belted out the ballad, “Another Life,” with the essence of Marvin Gaye and Al Green followed by performances of “Back to the Future” and “Sugah Daddy.”
D’Angelo did not perform many songs from his 1995 debut, Brown Sugar, or Voodoo, other than an uptempo rendition of “Brown Sugar,” “Spanish Joint,” “Left and Right,” an extended improvised performance of “Chicken Grease” and for the encore, “Untitled (How Does It Feel?).”
The Second Coming is proof that D’Angelo is this generation’s quintessential R&B and soul savior. He is the epitome of a modern legend, one who knows how to brilliantly incorporate Hip-Hop, soul, jazz, R&B, gospel, rock & roll, funk and blues into an invigorating body of work that respects the music that came before him and leaves his listeners craving more. Those 14 years may have left many curious, but it was time well spent.
This post was written by Christopher A. Daniel, pop cultural critic and music editor for the BurtonWire. He is also contributing writer for Urban Lux Magazine and Blues & Soul Magazine. Follow Christopher @Journalistorian on Twitter.
The New York Times is reporting that ballet star Albert Evans has died. Evans, a former New York City Ballet principal dancer and one of the most prominent African-Americans in classical dance, passed away Monday night at Mt. Sinai Hospital in NYC after an undisclosed, brief illness.
Evans was one of only two African-American principal dancers in New York City Ballet’s 67-year history. The first was Arthur Mitchell, who is now 81.
Ballet star Albert Evans has died. (Photo: Justin Peck/Instagram)
The author reports:
“As a principal, Evans danced a huge variety of roles in the City Ballet repertoire, from classical to modern, from George Balanchine to Jerome Robbins to Christopher Wheeldon. He joined the company in 1988 and quickly rose through the ranks, becoming a soloist in 1991 and a principal in 1995. Evans retired during the spring 2010 season with an emotional farewell performance, and had been serving since then as a ballet master at the company.
‘The entire New York City Ballet family is heartbroken by the loss of our beloved friend and colleague Albert Evans,’ said Peter Martins, the company’s ballet master in chief, in a statement. “Kind, warm, generous, and always a joy to be with, Albert is quite simply irreplaceable.’
Evans was born in Atlanta, Georgia, and trained there as a youngster. In 1986, he was awarded a full scholarship to the School of American Ballet, NYCB’s official school.
His more prominent roles in Balanchine ballets included the Cavalier in ‘The Nutcracker’ and Puck in ‘A Midsummer Night’s Dream,’ among many others. He had featured roles in Wheeldon’s ‘Polyphonia’ and ‘Liturgy.’ And he originated roles in a number of works by Martins, including his 1991 ‘Sleeping Beauty,’ in which Evans danced Puss in Boots, and “Romeo + Juliet,” in which he played a commanding Prince of Verona.”
(Photo of the church pastor Orinn K. Pullings, Sr. and a police officer minutes before a white man terrorized members of the church).
Photo Credit: Facebook/United Nations International Church FB page.
(Photo of the church pastor Orinn K. Pullings, Sr. and a police officer minutes before a white man terrorized members of the church). Photo Credit: Facebook/United Nations International Church FB page.
Multiple media outlets are reporting a white man showed up at the door of the United Nations Church International in Richmond, VA, yelling racial slurs, beating on the doors and threatening to kill all of the members of the black congregation.
No one was injured in the incident and police quickly took the person into custody under an emergency commitment order for a 72-hour mental-health evaluation WRIC reported.
Reuters reports:
“A video of the Richmond incident posted online by WRIC showed the man outside the church rapping on the window with an object and using a racial epithet as those inside frantically called for the doors to be locked.
‘All I know is he had a weapon in his hand, banging on the glass, and calling us niggers,’ the senior pastor, Bishop Oren [sic] Pullings, told the station.
Witnesses told the broadcaster the man threatened to kill everyone in the church.”
According to the Richmond Times-Dispatch, officers consulted with the Commonwealth’s Attorney Office, and it was determined that the man had not broken the law.
Orin K. Pullings, Sr., pastor of the church, posted his accounting of the incident on Facebook:
“On yesterday evening, after teaching and a special prayer meeting for our brothers and sisters in Charleston, SC a white male approached our church with a weapon we thought was a machete. He began yelling obscenities and racial epithets while threatening to kill all the niggers at the church. Upon alert, we locked down the church to keep the assailant outside and to keep our parishioners safe. At this point, he began banging on the doors and windows, continuing to threaten myself, other parishioners and all of the ‘niggers’ present.
We are fortunate to employ off-duty officers from the City of Richmond Police Department each time we have a service. One of our officers then approached the suspect with her weapon drawn and asked him to drop the weapon. These warnings were ignored until backup arrived at which that point, the suspect threw his weapon into a nearby bush.
The suspect was apprehended and taken to a mental facility to be further evaluated. Unfortunately, it appears that threatening to kill people with a weapon and using racial epithets is not a crime in the state of Virginia so the assailant will not be charged with a crime, instead released back into the general public after his 72 hour evaluation.
We thank you all for your prayers and well wishes during this time. Continue to pray for us as we try to get change enacted in the state of Virginia. Threats to lives should be taken seriously, regardless of your mental state. One life that may have been lost in our church family due to a sane or insane person, would have been one life too many.
This is a photo of me and one of our Richmond Police Department officers that has been working at our church for more than 9 years. I am thankful for her many years of service at our church and for other instances in which she is protecting our lives.
Medina and I and the UNCI family of Va are very thankful to God for his divine protection.”
This incident took place one day after nine black church members at the historic church Emanuel AME Church in Charleston, SC were gunned down by a white man while participating in Bible study.
This post was written by Nsenga K. Burton, Ph.D., founder & editor-in-chief of the award-winning news blog the Burton Wire. Follow her on Twitter @Ntellectual.
