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W.E.B. Du Bois Exhibit Lands at a DAMA, Bringing a 125-Year-Old Vision Back to Atlanta

THE ATLANTA VOICE — Discover “W.E.B. Du Bois Revisited: Reimagining Du Bois’ Exhibit of American Negroes” at ADAMA, an exhibit pairing historical photos by Thomas E. Askew with contemporary portraits and data, celebrating Black American life.
The post W.E.B. Du Bois Exhibit Lands at a DAMA, Bringing a 125-Year-Old Vision Back to Atlanta first appeared on BlackPressUSA.

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2 weeks ago

April 26, 2026

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By Noah Washington | The Atlanta Voice

More than a century after W.E.B. Du Bois presented photographs and data charts documenting Black American life at the 1900 Paris Exposition, his vision has found a new home in Atlanta’s West End, at the African Diaspora Art Museum of Atlanta, known as ADAMA.

“W.E.B. Du Bois Revisited: Reimagining Du Bois’ Exhibit of American Negroes” pairs historical photographs taken by Atlanta photographer Thomas E. Askew with contemporary portraits and updated data visualizations. The exhibit, which first debuted at Clark Atlanta University in February, is now on view at ADAMA for approximately two weeks.

The project began as part of the Atlanta Journal-Constitution’s annual Black History Month series. According to Miller, it was Suggs, a veteran reporter at the AJC, who reached out to her to handle the photography after Donastorg pitched the concept.

“We’re never going to have a story that says Martin Luther King Jr. won the Nobel Peace Prize or Rosa Parks sat on the back of the bus,” Suggs said. “We’re going to have stories about the talented tenth, about double consciousness, about small things that you probably never heard of or heard glimpses of and didn’t know.”

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The idea came from Mirtha Donastorg, a business reporter at the AJC. Donastorg said she had been reading Du Bois’ work and was struck by how little attention had been paid to its Atlanta-specific content.

“About half of those charts and photographs focused on Atlanta and Georgia, and there had never been an exploration or revisiting of the Atlanta data and charts,” Donastorg said. “I wanted to see what these look like with contemporary data, what it looks like with a contemporary look at Atlanta.”

The work on the project began in December of 2025. All of the historical photographs from Du Bois’ original 1900 Paris exhibit were taken by Askew, a local Black photographer from Atlanta. Most subjects in those images remain unidentified.

“If you look at the cut line, it will say a man, or a boy, a Black boy,” Suggs said. “No names are attached. We don’t know if they’re doctors, we don’t know if they’re lawyers, we don’t know if they’re pharmacists. But we do know they represented a certain aspect of Black beauty, and that’s what we wanted to recreate.”

Miller said choosing contemporary subjects was a blend of intention and instinct. Some pairings, including Clark Atlanta University President George T. French alongside a portrait of Du Bois himself, were planned from the start. Others took shape only after she had shot her subjects and then searched the Library of Congress archives for historical counterparts.

“For a lot of the reference photos, a lot of them didn’t have names, so we just kind of paired up based on how we felt like they connected within contemporary subjects,” Miller said.

She said the goal was to represent the full range of contemporary Atlanta.

“I just kind of wanted to find people that represent contemporary Atlanta, and that’s from doctors to scholars, entrepreneurs, artists,” Miller said. “Kind of finding different people that reflect the people Du Bois wanted to share in the past and what contemporary Atlanta looks like right now.”

A split image showing a historical half-length portrait of an African American woman alongside Rosalynne Duff posing for a portrait in Atlanta in 2026.

The land on which ADAMA sits formally belonged to Clark College, one of two historic institutions, alongside Atlanta University, that merged in 1988 to form Clark Atlanta University. It was at Atlanta University where W.E.B. Du Bois spent more than two decades as a faculty member in the history and economics departments, conducting research on Black American life and popularizing the concept of the ‘talented tenth.’

For Pecou, that layered history makes the Pittsburgh neighborhood more than just a convenient address. It is, he says, a kind of sacred ground, a place where Black intellectual life, Black commerce, and Black community have long intersected, and where ADAMA’s presence feels less like a new arrival than a continuation.

“To be able to bring this exhibition here, to be able to tell this story, to expose this community to this history, many folks in this neighborhood may not even realize that history and that connection,” Pecou said. “I felt like it was an important and really powerful message.”

Pecou is also among the contemporary subjects featured in the exhibit, photographed alongside an unnamed historical portrait from Askew’s collection. He said his only regret is that the run is short.

“My only regret is that the exhibition won’t be longer,” Pecou said. “It’s kind of a pop-up thing. We had a space, and we were able to accommodate.”

Miller said she hopes visitors leave with a sense of both distance traveled and connection across time.

“I want them to think about the past and the present,” she said. “We’ve done so much in just these 126 years, despite so much. I want them to kind of look back and reflect on what the people before us did to set us up for now, and to think about themselves in the present.”

Suggs said that the connection between eras revealed itself most powerfully when the team saw the old and new photographs side by side for the first time.

“We never set out to match any of these photographs with people,” he said. “But when Natrice took all the photographs, and we sat down and looked at them, we were like, oh my God. It just kind of shows you how Black people are almost timeless. We all still kind of have these similarities. And I think that this shows the connection that we’re all always going to be connected.”

The post W.E.B. Du Bois Exhibit Lands at a DAMA, Bringing a 125-Year-Old Vision Back to Atlanta first appeared on BlackPressUSA.

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2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

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1 week ago

May 3, 2026

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The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.

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Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

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1 week ago

May 3, 2026

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Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.

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OP-ED: Small Businesses Need Minnesota to Act on Pass-Through Tax Policy

MINNESOTA SPOKESMAN RECORDER — A Twin Cities immigrant entrepreneur who built several businesses including grocery stores in underserved neighborhoods is calling on Minnesota lawmakers to extend the Pass-Through Entity tax option before it expires, warning that its loss would hit small businesses already recovering from Operation Metro Surge with higher federal tax bills.

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1 week ago

May 3, 2026

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A Twin Cities Small Business Owner Is Urging Minnesota to Extend a Tax Policy That Could Save Thousands of Businesses

By Daniel Hernandez | Minnesota Spokesman Recorder

I came to the United States as a teenager with a clear goal: to build something meaningful through hard work. I put in long days in construction, restaurants, and landscaping; doing whatever it took to learn, save, and eventually start my own business.

Over time, I built and ran several successful ventures, including an event photography company, a magazine, a tax and accounting firm, and now grocery stores serving neighborhoods across the Twin Cities where other retailers chose not to invest. I’ve created jobs, supported families, and committed to communities that deserve stability and opportunity.

That’s why I’m speaking out now.

Small business owners in Minneapolis and the communities we serve are recovering from serious disruptions, including the impacts of Operation Metro Surge. That event hit immigrant communities especially hard. In my own case, I lost nearly half of my 60 employees and saw revenue drop by about 85%. While I worked to provide competitive wages, health benefits, and paid time off, the real hardship fell on the people who lost their jobs and income.

Even as we rebuild, small businesses are facing another challenge. The Minnesota Legislature is considering letting an important tax policy expire: the Pass-Through Entity tax option.

Here’s what that means in plain terms.

Many small businesses, including mine, are pass-through businesses. That means the business itself doesn’t pay income tax. Instead, the owners report the income on their personal tax returns. But under current federal rules, there’s a limit on how much state tax we can deduct. That often leads to higher federal tax bills.

The Pass-Through Entity option fixes that. It allows the business to pay the state tax directly, which means the business can fully deduct those taxes on its federal return and lower the total amount of income taxed federally. The result is straightforward: small business owners pay less in federal taxes, without reducing what the state collects.

This policy is not new or controversial. Thirty-six states already offer it. It doesn’t cost Minnesota anything, it’s revenue neutral. And it benefits more than 66,000 businesses across the state.

In a state where the cost of doing business is already high, it’s hard to understand why we wouldn’t offer the same basic tax treatment as states like California and Illinois.

Small businesses have carried a heavy load in recent years, through a pandemic, rising costs and public safety disruptions. We’ve adapted, reinvested and stayed committed to our communities. What we need now are practical policies that support that work, not make it harder.

If the Minnesota House does not act soon, many businesses will face significantly higher federal tax bills. That’s money that could otherwise be used to hire workers, raise wages or reinvest in local neighborhoods.

I urge Gov. Tim Walz and members of the House Tax Committee to pass House File 3127 and extend the Pass-Through Entity election.

Small businesses are the backbone of our communities. We’ve proven our resilience. Now we need our state leaders to show the same commitment to us.

Daniel Hernandez is the owner of Colonial Market located at 2100 E. Lake St.

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