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Black History: Hattie McDaniel First African American Oscar Winner

NNPA NEWSWIRE — The pinnacle of McDaniel’s career, Gone with the Wind, premiered in 1939 amid controversy. Though the role would eventually lead to an Oscar win for McDaniel, she was banned from the premiere. In fact, none of Gone with the Wind’s Black actors were allowed to attend the film’s Atlanta premiere.

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By Stacy M. Brown, NNPA Newswire Correspondent
@StacyBrownMedia

Long before Twitter, Instagram, Facebook and the Internet, Hattie McDaniel knew what it meant to “clap back” against her haters.

Upon hearing backlash for film roles where she portrayed a servant – during a time when servants were the only available roles for African Americans in Hollywood – McDaniel remarked, “I’d rather play a maid in the movies than be one in real life.

A trailblazer who opened the doors for blacks in Hollywood, McDaniel was the first African American to win an Academy Award when she was recognized for Best Supporting Actress for her portrayal of Mammy, a black maid, in the 1939 classic, Gone with the Wind.

The ceremony, the 12th Academy Awards, was held at the segregated Ambassador Hotel and producer David Selznick had to petition for McDaniel to enter the hotel’s glitzy Cocoanut Grove nightclub.

When she took the stage at the 1940 Oscars, she was the only Black woman in the room.

According to Entertainment Weekly, co-stars Vivien Leigh and Clark Gable sat together while the 46-year-old McDaniel, clad in a blue dress and gardenias in her hair, sat at a separate, segregated table in the back of the venue.

After hearing her name announced, McDaniel eschewed the speech Selznick had prepared for her, and delivered one she’d written with the help of Ruby Berkley Goodwin, a Black writer and close friend, Entertainment Weekly reported.

“It has made me feel very, very humble, and I shall always hold it as a beacon for anything I may be able to do in the future,” McDaniel said. “I sincerely hope I shall always be a credit to my race and to the motion picture industry.”

Little did she know, McDaniel’s win paved the way for 38 Black film industry professionals, including actors, musicians and directors to win an Academy Award or to receive an honorary distinction. Winners have included Sidney Poitier, Denzel Washington, Louis Gossett Jr., Forest Whitaker, Octavia Spencer and Lupita Nyong’o.

Born on June 10, 1893 (with some sources listing her year of birth as 1895), in Wichita, Kansas, McDaniel was her parents’ 13th child, according to Biography.com.

Her father, Henry, was a Civil War veteran who suffered greatly from war injuries and had a difficult time with manual labor. Henry was later described by one of his sons as a minister, though this was a fictionalized account. McDaniel’s mother, Susan Holbert, was a domestic worker.

In 1901, McDaniel and her family moved to Denver, Colorado, where she attended the 24th Street Elementary School, and counted as one of only two black students in her class. While at East River High School, McDaniel started professionally singing, dancing and performing skits in shows as part of The Mighty Minstrels.

Her natural flair for singing – in church, at school and in her home – was apparent early on and gained her popularity among her classmates, according to Biography.com.

In 1909, she decided to drop out of school in order to more fully focus on her fledgling career, performing with her older brother’s troupe.

In 1911, she married pianist Howard Hickman and went on to organize an all-women’s minstrel show.

In the 1920s, McDaniel worked with Professor George Morrison’s orchestra and toured with his and other vaudeville troops for several years.

By mid-decade, she was invited to perform on Denver’s KOA radio station, according to biography.com. Following her radio performance, McDaniel continued to work the vaudeville circuit and established herself as a blues artist, writing her own work.

In 1931, McDaniel scored her first small film role as an extra in a Hollywood musical. Then in 1932, she was featured as a housekeeper in The Golden West.

The pinnacle of McDaniel’s career, Gone with the Wind, premiered in 1939 amid controversy. Though the role would eventually lead to an Oscar win for McDaniel, she was banned from the premiere. In fact, none of Gone with the Wind’s Black actors were allowed to attend the film’s Atlanta premiere.

McDaniel continued to land parts here and there, but as roles for black actors were hard to come by, she was again forced to take odd jobs to make ends meet.

During World War II, McDaniel helped entertain American troops and promoted the sale of war bonds, but she soon found the film offers to be drying up. She responded by making a strategic return to radio, taking over the starring role on CBS radio’s The Beulah Show in 1947.

In 1951, McDaniel started filming for the television version of The Beulah Show. Unexpectedly, she suffered a heart attack around the same time, and was forced to abandon her career upon being diagnosed with breast cancer.

Responding to criticism over her maid roles, McDaniel said it was her prerogative to accept whatever roles she chose. She also suggested that characters like Mammy proved themselves as more than just measuring up to their employers.

McDaniel lost her battle with cancer in Los Angeles, California, on October 26, 1952.

After her death, the groundbreaking actress was posthumously awarded two stars on the Hollywood Walk of Fame. She was inducted into the Black Filmmakers Hall of Fame in 1975 and honored with a commemorative U.S. postage stamp in 2006.

A well-received biography on her life was published in 2005—Hattie McDaniel: Black Ambition, White Hollywood, by Jill Watts.

Last year, it was announced that producer Alysia Allen had obtained the film rights to the book and was looking to develop a biopic.

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Remembering George Floyd

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OP-ED: Oregon Bill Threatens the Future of Black Owned Newspapers and Community Journalism

BLACKPRESSUSA NEWSWIRE — Nearly half of Oregon’s media outlets are now owned by national conglomerates with no lasting investment in local communities. According to an OPB analysis, Oregon has lost more than 90 news jobs (and counting) in the past five years. These were reporters, editors and photographers covering school boards, investigating corruption and telling community stories, until their jobs were cut by out-of-state corporations.

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By Dr. Benjamin F. Chavis, Jr.
President and CEO, National Newspaper Publishers Association

For decades, The Skanner newspaper in Portland, the Portland Observer, and the Portland Medium have served Portland, Oregon’s Black community and others with a vital purpose: to inform, uplift and empower. But legislation now moving through the Oregon Legislature threatens these community news institutions—and others like them.

As President and CEO of the National Newspaper Publishers Association (NNPA), which represents more than 255 Black-owned media outlets across the United States—including historic publications like The Skanner, Portland Observer, and the Portland Medium—l believe that some Oregon lawmakers would do more harm than good for local journalism and community-owned publications they are hoping to protect.

Oregon Senate Bill 686 would require large digital platforms such as Google and Meta to pay for linking to news content. The goal is to bring desperately needed support to local newsrooms. However, the approach, while well-intentioned, puts smaller, community-based publications at a future severe financial risk.

We need to ask – will these payments paid by tech companies benefit the journalists and outlets that need them most? Nearly half of Oregon’s media outlets are now owned by national conglomerates with no lasting investment in local communities. According to an OPB analysis, Oregon has lost more than 90 news jobs (and counting) in the past five years. These were reporters, editors, and photographers covering school boards, investigating corruption, and telling community stories, until their jobs were cut by out-of-state corporations.

Legislation that sends money to these national conglomerate owners—without the right safeguards to protect independent and community-based outlets—rewards the forces that caused this inequitable crisis in the first place. A just and inclusive policy must guarantee that support flows to the front lines of local journalism and not to the boardrooms of large national media corporations.

The Black Press exists to fill in the gaps left by larger newsrooms. Our reporters are trusted messengers. Our outlets serve as forums for civic engagement, accountability and cultural pride. We also increasingly rely on our digital platforms to reach our audiences, especially younger generations—where they are.

We are fervently asking Oregon lawmakers to take a step back and engage in meaningful dialogue with those most affected: community publishers, small and independent outlets and the readers we serve. The Skanner, The Portland Observer, and The Portland Medium do not have national corporate parents or large investors. And they, like many smaller, community-trusted outlets, rely on traffic from search engines and social media to boost advertising revenue, drive subscriptions, and raise awareness.

Let’s work together to build a better future for Black-owned newspapers and community journalism that is fair, local,l and representative of all Oregonians.

Dr. Benjamin F. Chavis Jr., President & CEO, National Newspaper Publishers Association

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Hate and Chaos Rise in Trump’s America

BLACKPRESSUSA NEWSWIRE — Tactics ranged from local policy manipulation to threats of violence. The SPLC documented bomb threats at 60 polling places in Georgia, traced to Russian email domains.

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By Stacy M. Brown
Black Press USA Senior National Correspondent

The Southern Poverty Law Center has identified 1,371 hate and antigovernment extremist groups operating across the United States in 2024. In its latest Year in Hate & Extremism report, the SPLC reveals how these groups are embedding themselves in politics and policymaking while targeting marginalized communities through intimidation, disinformation, and violence. “Extremists at all levels of government are using cruelty, chaos, and constant attacks on communities and our democracy to make us feel powerless,” said SPLC President Margaret Huang. The report outlines how hard-right groups aggressively targeted diversity, equity, and inclusion (DEI) initiatives throughout 2024. Figures on the far right falsely framed DEI as a threat to white Americans, with some branding it a form of “white genocide.” After the collapse of Baltimore’s Francis Scott Key Bridge, a former Utah legislator blamed the incident on DEI, posting “DEI = DIE.”

Tactics ranged from local policy manipulation to threats of violence. The SPLC documented bomb threats at 60 polling places in Georgia, traced to Russian email domains. Similar threats hit Jewish institutions and Planet Fitness locations after far-right social media accounts attacked them for trans-inclusive policies. Telegram, which SPLC describes as a hub for hate groups, helped extremists cross-recruit between neo-Nazi, QAnon, and white nationalist spaces. The platform’s lax moderation allowed groups like the Terrorgram Collective—designated terrorists by the U.S. State Department—to thrive. Militia movements were also reorganized, with 50 groups documented in 2024. Many, calling themselves “minutemen,” trained in paramilitary tactics while lobbying local governments for official recognition. These groups shared personnel and ideology with white nationalist organizations.

The manosphere continued to radicalize boys and young men. The Fresh & Fit podcast, now listed as a hate group, promoted misogyny while mocking and attacking Black women. Manosphere influencers used social media algorithms to drive youth toward male-supremacy content. Turning Point USA played a key role in pushing white nationalist rhetoric into mainstream politics. Its leader Charlie Kirk claimed native-born Americans are being replaced by immigrants, while the group advised on Project 2025 and organized Trump campaign events. “We know that these groups build their power by threatening violence, capturing political parties and government, and infesting the mainstream discourse with conspiracy theories,” said Rachel Carroll Rivas, interim director of the SPLC’s Intelligence Project. “By exposing the players, tactics, and code words of the hard right, we hope to dismantle their mythology and inspire people to fight back.”

Click here for the full report or visit http://www.splcenter.org/resources/guides/year-hate-extremism-2024.

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