Little-Seen, Never-Aired 61-Year-Old (Authorized) Documentary on “Peanuts”

Wow! The team formed even earlier than I thought! This was before *all* of the films and TV specials!

You can find out about this documentary here.

#TriceEdneyNewsWire: “Photographer Roy Lewis Honored by #NationalAssociationofBlackJournalists #NABJ at Chicago Confab” By Hamil R. Harris

Every Black community has somebody like Roy Lewis. When I lived in the D.C. area and was at a Black political event, the way I knew I was at the main one of the day was spotting Roy, clicking away.

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Having taken thousands of photos of people receiving awards and making news, Roy Lewis waited his turn to be honored by the National Association of Black Journalists. PHOTO: Roland Martin/#Roland Martin Unfiltered
Roy Lewis, relaxing later with his NABJ Legacy Award.

Roy Lewis (center) receives the Legacy Award from NABJ representatives Frank Holland of CNBC and Abby Phillip of CNN. PHOTO: Roland Martin/#Roland Martin Unfiltered


September 2, 2024

Photographer Roy Lewis Honored by NABJ at Chicago Confab

By Hamil R. Harris

(TriceEdneyWire.com) – Roy Lewis has photographed iconic images across Black America for decades and his love for the lens was captured by Jet magazine in 1964 when it published his photograph of pianist Thelonious Monk.
Born in 1937, on a plantation below Natchez, Mississippi, Lewis’s resourcefulness is part of his gift. He first fell in love with vocational photography in high school. He later practiced that love on a professional level at the Johnson Publishing Company on South Michigan Avenue in Chicago. He earned the money for a 35-mm camera after he was drafted into the U.S. Army.
This summer, Lewis, 87, was back on South Michigan Avenue in Chicago, but not at the John H. Johnson headquarters. He was there to receive “special honors,” at the convention of the National Association of Black Journalists.“I worked for Mr. Johnson from 1956 to 1968 and then to be honored on this Avenue…” Lewis said. “It’s not about the pictures; it’s about the feeling of being honored by your peers and being back in Chicago, where I did some of my top work.”
Lewis was bestowed with the Legacy Award during NABJ’s annual convention in August. The Legacy Award recognizes a Black print, broadcast, digital, or photojournalist of “extraordinary accomplishment who has broken barriers and blazed trails.”
Legacy Award honorees are those who have “contributed to the understanding or advancement of people and issues in the African Diaspora,” according to NABJ.
The NABJ wrote, “Lewis is a renowned photographer and activist whose photography career started in 1964 when Jet magazine published his photograph of musician Thelonious Monk. His work has been celebrated nationwide, including in his ‘Everywhere with Roy Lewis Exhibition,’ beginning in 2008 at the Essence Music Festival.”
Lewis, who left Chicago in 1973 and moved to Washington D.C., was nominated for the award by Sam Ford, a founding member of the NABJ who worked for more than 51 years as an award-winning broadcaster for three decades on air at WJLA-TV, Washington, D.C.’s ABC affiliate.
“Roy has been part of the Washington press corps for as far as I can remember,” Ford said. “Roy started taking pictures when he was 17 years old. He will be 87 this year…That is more than 70 years connected with the news media except when he was in the army.”
Lewis also worked in his hometown paper in Natchez and went back to work for Ebony and Jet after the army. He has a large collection of pictures from his days at Ebony and Jet from the 1960s and he is still a photographer for The Washington Informer newspaper, the Trice Edney News Wire and the NNPA News Service, which serves 200 Black newspapers and their websites. “I thought he needed recognition. When a person is going for 87 years you don’t want to wait too long,” Ford said.
According to Lewis’ HistoryMakers biography, he was drafted in 1960, and he developed his photography talent in the army. He purchased his first camera for just $25. In 1968, Lewis left Johnson Publishing and joined the staff at Northeastern University, filming student activities. In 1970, Lewis videotaped an exclusive interview with the late Honorable Elijah Muhammad. Lewis’s work was featured in the film A Nation of Common Sense. In 1974, Lewis traveled to Zaire to film the Muhammad Ali-George Foreman fight. This historic video would later be featured in the documentary on that classic clash, When We Were Kings. In 1975, Lewis worked on River Road on the Mississippi, a pictorial book that focused on African-American people and life along the Mississippi River.
Dr. Ben Chavis, NNPA president/CEO, said in an interview, “The National Newspaper Publishers Association salutes Roy Lewis as a phenomenal photojournalist and for his long-standing contribution to freedom, justice, and equality. Roy Lewis is an icon of the Black Press.”
Likewise, Hazel Trice Edney, editor-in-chief of the Trice Edney News Wire, said, “Roy Lewis’s name is synonymous with excellence in Black Press photography.” Under her leadership as president of the Capital Press Club in 2014, Lewis was also an award recipient during the CPC’s 70th anniversary celebration. She said, “Roy is deserving, not just because of great and historic photography, but because of his commitment to the cause.” 
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From #DemocracyNow! (8-23-24): “Two Faces of American Capitalism”: #JuanGonzález (and #BarbaraRansby) on What the #RNC & #DNC Reveal About U.S. Politics

The Democratic National Convention wrapped up in Chicago on Thursday with Vice President Kamala Harris formally accepting the presidential nomination, capping a week of political showmanship and celebration for many party members. “One of the things that struck me most was the level of choreographed mass spectacle of this convention that would be really worthy of Leni Riefenstahl,” says Democracy Now! co-host Juan González. He says Democrats and Republicans presented “the two faces of American capitalism” at their respective conventions this summer, with the GOP home to “white supremacist capitalism” while Democrats promote a “multiracial neoliberal capitalism.” He adds that despite the constant chants of “U.S.A.” throughout the week, “the reality is that the United States has never been lower in its prestige and never more discredited around the world than it is today.”

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AMY GOODMAN: But before we end, Juan, we began this week with you and Bill Ayers going back to 1968, talking about the protests of the time. And as we begin to wrap up, can you share your thoughts about this week?

JUAN GONZÁLEZ: Well, you know, I think one of the things that struck me most was the level, as I said, of choreographed mass spectacle of this convention that would be really worthy of Leni Riefenstahl, the famous Nazi, Hitler’s filmmaker and propagandist, in terms of controlling the narrative that the America people receive of what the Democratic Party is about.

We’ve seen that both the Republican convention and the Democratic convention show the two faces of American capitalism. On the one hand, with the Republicans, you have a party of a white supremacist capitalism, of anti-immigrant xenophobia, of patriarchy and of war on the working class. And now, this past week, we’ve seen the party of multiracial neoliberal capitalism, for a party that seeks a kinder and gentler form of mass deportation and border militarization, and one that is even more aggressive in the imperial policies of the United States than even the Republican Party, if you consider that.

And both parties sort of having a disconnect with the rest of the world. I was stunned by all the chants of “U.S.A.! U.S.A.! U.S.A.!” throughout the Democratic convention, when the reality is that the United States has never been lower in its prestige and never more discredited around the world than it is today as a result of — especially of the war in Gaza, but of all the attempts at regime change and controlling other countries and forcing other countries to do what it wants.

And it reminds me constantly that “one person, one vote” is a dangerous concept, because there’s always the possibility that the masses of people will act in ways that the rulers don’t want. So, the necessity to control the narrative, to control what the people consider possible, is so important to our ruling classes. And that’s why they invest so much time and so much effort in this choreographing of spectacle to, somehow or other, prevent the people from thinking of other possibilities.

And so, I think that that’s what most — had most impact on me, and also the fact that the social movements have had impact. I think Kamala Harris’s choice of Tim Walz was a direct response to the sense among this multiracial neoliberal wing of capitalism that they’ve got to, somehow or other, placate the masses of the people and bring the young people back into the fold. And so, I think they’ve attempted to do that. We’ll see what happens in the coming weeks. But I think that the choices have never been clearer between the two forms of capitalism. And we’ll see what the American people decide in the coming weeks.

AMY GOODMAN: Your final thought on that, Barbara Ransby?

BARBARA RANSBY: I agree. I was nodding and amening as Juan was commenting. Yeah, I mean, two faces of capitalism, because we see — you know, it’s very hard to be enthusiastic about this moment in the Democratic Party, with Gaza and everything else. And I think the cynicism of this orchestrated consensus at the convention is one example of that.

*****

Here’s the video:

UPDATE:

https://www.hollywoodreporter.com/tv/tv-news/2024-democratic-convention-tv-ratings-beat-republicans-1235983406/#recipient_hashed=b43e77ef8511b897f121d6fce05314e5f23b9c83c552b32c518c75fbee8552d6&recipient_salt=26beda21af827d1a6eb90852fdfe685026151227cf97fb96d9442539037f0c78&utm_medium=email&utm_source=exacttarget&utm_campaign=Breaking%20News&utm_content=546174_08-23-2024&utm_term=8009234

Will This #AssociatedPress #FutureAwardWinningPhoto Re-Elect #DonaldTrump?

Uh-oh….

Molly, we in danger, Girl…. 🙂

The story behind the photo:

https://www.dw.com/en/ap-photographer-evan-vucci-on-capturing-a-moment-in-american-history/video-69655711