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      J. Gary Cooper, Pathbreaking Marine Leader, Is Dead at 87

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      He was the first Black officer to lead a Marine Corps infantry company into combat. He later became an Alabama state lawmaker and an assistant secretary of the Air Force.J. Gary Cooper, a two-star general and the first African American to lead a Marine infantry company in combat, who later became an Alabama state lawmaker, an assistant secretary of the Air Force and an ambassador to Jamaica, died on April 27 at his home in Mobile, Ala. He was 87.His death was confirmed by his daughter Joli Claire Cooper.Growing up in Alabama in the 1930s and ’40s, General Cooper overcame the harsh segregation of the Deep South to attain leadership roles in the military, corporate America and government, a sweeping arc that paralleled the paths of a generation of African Americans that pushed open doors during a time of profound racial change in the United States.General Cooper was raised in Mobile in a rarefied world: the Black upper class of the pre-civil rights era. His family owned an insurance company and a funeral home. But money did not insulate him from the strictures of Jim Crow and its long racist shadow.When his father tried to send him to an all-white Roman Catholic school, the local bishop barred him. When he returned to Mobile to run the family business after 12 years in the Marines, the Junior Chamber of Commerce rejected him as a member. And in 1973, when General Cooper went to the Mobile County Courthouse to obtain a marriage license, he was humiliated to find that Black couples were made to sign a “colored” register, separate from the one for white couples.His initial escape from the segregated city of his youth came in 1954 when he won a scholarship to Notre Dame, where he was one of only a handful of Black freshmen in a class of 1,500.“On campus there were no ‘colored’ or ‘white’ signs on the drinking fountains or bathroom doors,” General Cooper wrote in a reminiscence published in Notre Dame magazine in 2014. “I thought I had died and gone to heaven.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Angela Alsobrooks Wants to Be Maryland’s First Black Senator

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      Angela Alsobrooks, Maryland’s newly chosen Democratic nominee for Senate, is familiar with firsts.With her election in 2018 as executive of Prince George’s County, a populous suburban area bordering Washington, Ms. Alsobrooks became the first Black woman to hold that role.Now she has the chance to become the first Black senator to represent Maryland, which is more than 30 percent Black. If she wins this fall, she would also become the sole woman in Maryland’s congressional delegation, and the second woman ever to represent it in the Senate.And she would be only the fourth Black woman, after Carol Moseley Braun, Kamala Harris and Laphonza Butler, to serve in the Senate — from any state.In a campaign that became increasingly tense over the past few weeks, Ms. Alsobrooks leaned heavily on the importance of racial and gender representation in government, seemingly in hopes that her historic candidacy would counter the flood of cash being spent by her opponent, Representative David Trone.Mr. Trone put more than $55 million of his own money into the race, making it the most expensive Senate primary ever in Maryland.“As women, we don’t want people talking about us and making decisions about us without us,” Ms. Alsobrooks told The New York Times as Tuesday’s election approached, referring to abortion rights, one of the biggest issues of this year’s campaigns.Before she was elected as the county executive in 2018, she also was the county’s top prosecutor, and before that she was an assistant state’s attorney focused on domestic violence.Race was a major theme in her Senate primary, both because of the potential firsts that Ms. Alsobrooks represented and because Mr. Trone, who is white, was accused of racism after he used a racial slur in a congressional hearing (He apologized and said he had used the word inadvertently).She received the support of most of Maryland’s congressional delegation, as well as Gov. Wes Moore — the state’s first Black governor — and Black women in other states.In the general election, she will face a formidable opponent: Larry Hogan, the state’s popular former Republican governor. More

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      Barbara O. Jones, Actress Who Brought Black Cinema to Life, Dies at 82

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      Her arresting roles in movies like “Bush Mama” and “Daughters of the Dust” helped shape a generation of independent filmmakers.Barbara O. Jones, an actress whose captivating work in films like “Bush Mama” and “Daughters of the Dust” helped define the cerebral, experimental and highly influential Black cinema movement that emerged in Los Angeles in the 1970s, died on April 8 at her home in Dayton, Ohio. She was 82.Her brother Marlon Minor confirmed the death but said the cause had not been determined.Starting in the early 1970s just a few miles from Hollywood, a generation of students at the University of California, Los Angeles, began making films that pushed hard against many of the tropes of commercial moviemaking.Budding filmmakers like Charles Burnett, Julie Dash and Haile Gerima eschewed polished scripts and linear narratives in search of an authentic Black cinematic language. They relied on actors like Mrs. Jones, drawn from far outside the mainstream, to bring their work to life.Mrs. Jones was in some ways the typical Los Angeles transplant, having moved from the Midwest in search of a film career. She took acting classes, but, rather than gravitating toward Hollywood, she fell in with the politically charged, aesthetically adventurous scene around the U.C.L.A. film school, a movement that the film scholar Clyde Taylor called the L.A. Rebellion.She appeared in several short student films, including Mr. Gerima’s “Child of Resistance” (1973), in which she played an imprisoned activist loosely based on Angela Davis, and Ms. Dash’s “Diary of an African Nun” (1977), adapted from a short story by Alice Walker.Mrs. Jones in Ms. Dash’s short film “Diary of an African Nun” (1977), adapted from a story by Alice Walker.Julie DashWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Widening Racial Disparities Underlie Rise in Child Deaths in the U.S.

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      New research finds that the death rate among Black youths soared by 37 percent, and among Native American youths by 22 percent, between 2014 and 2020, compared with less than 5 percent for white youths.The NewsThanks to advancements in medicine and insurance, mortality rates for children in the United States had been shrinking for decades. But last year, researchers uncovered a worrisome reversal: The child death rate was rising.Now, they have taken their analysis a step further. A new study, published Saturday in The Journal of the American Medical Association, revealed growing disparities in child death rates across racial and ethnic groups. Black and Native American youths ages 1 to 19 died at significantly higher rates than white youths — predominantly from injuries such as car accidents, homicides and suicides.Dr. Coleen Cunningham, chair of pediatrics at the University of California, Irvine, and the pediatrician in chief at Children’s Hospital of Orange County, who was not involved in the study, said the detailed analysis of the disparities documented “a sad and growing American tragedy.”“Almost all are preventable,” she said, “if we make it a priority.”Flowers for Karon Blake, 13, who was shot and killed in Washington, D.C., in January 2023. Gun-related deaths were two to four times higher among Black and Native American youth than among white youth.Carolyn Kaster/Associated PressSome Context: A frightening trend examined more closely.Researchers at Virginia Commonwealth University and Children’s Hospital of Richmond had previously revealed that mortality rates among children and adolescents had risen by 18 percent between 2019 and 2021. Deaths related to injuries had grown so dramatically that they eclipsed all public health gains.The group, seeking to drill deeper into the worrying trend, obtained death certificate data from the Centers for Disease Control and Prevention’s public WONDER database and stratified it by race, ethnicity and cause for children ages 1 to 19. They found that Black and American Indian/Alaska Native children were not only dying at significantly higher rates than white children but that the disparities — which had been improving until 2013 — were widening.The data also revealed that while the mortality rates for children overall took a turn for the worse around 2020, the rates for Black, Native American and Hispanic children had begun increasing much earlier, around 2014.Between 2014 and 2020, the death rates for Black children and teenagers rose by about 37 percent, and for Native American youths by about by about 22 percent — compared with less than 5 percent for white youths.“We knew we would find disparities, but certainly not this large,” said Dr. Steven Woolf, a professor of family medicine at the V.C.U. School of Medicine, who worked on the research. “We were shocked.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Federal Judges Block Newly Drawn Louisiana Congressional Map

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      A panel of federal judges blocked Louisiana on Tuesday from using a newly drawn congressional map that had been designed to form a second district with a majority of Black voters, creating uncertainty just months before an election that could play a critical role in determining the balance of power in the House of Representatives.The new districts had been outlined in January during a special session of the State Legislature. Lawmakers had been ordered to sketch out the new boundaries after a three-judge panel of the U.S. Court of Appeals for the Fifth Circuit found that the previous map had very likely violated the Voting Rights Act by diluting the voting power of Black residents.But in a 2-to-1 decision released on Tuesday, a separate panel of federal judges sided with challengers who argued that the new map was an “impermissible racial gerrymander” that violates the Equal Protection Clause of the 14th amendment of the U.S. Constitution.The challenge had been brought by a group of residents scattered across the newly formed district who described themselves as “non-African American” voters. They argued that lawmakers had moved to “segregate voters based entirely on their races” and that to achieve that, they had stitched together “communities in far-flung regions of Louisiana.”Critics assailed the ruling on Tuesday, saying that it threatened vital protections for voters of color. “The court’s ruling today unnecessarily puts Louisianians’ right to vote in a very precarious position,” Eric H. Holder Jr., the former U.S. attorney general and current chairman of the National Democratic Redistricting Committee, said in a statement.The court will hold a hearing on May 6 to discuss which boundaries will be used in the coming election.“We will of course be seeking Supreme Court review,” Louisiana’s attorney general, Liz Murrill, wrote on social media. “I’ve said all along the Supreme Court needs to clear this up.” More

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      Maximizing Profits at the Patients’ Expense

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      More from our inbox:The Brave Trump JurorsBlack Voters ‘Want to Be Courted’ by DemocratsBetter Than Debates NATo the Editor:Re “Patients Hit With Big Bills While Insurers Reap Fees” (front page, April 7):Chris Hamby’s investigation uncovers the hard truth for patients who receive care from providers outside their insurance network. While most of us try to save out-of-pocket costs by using in-network health professionals and hospitals, it’s not always possible. And there’s no way to determine what we’ll owe until after we get that care — when it’s too late to reconsider based on the costs we’ve incurred.So, it’s more important than ever for the government to swiftly implement an essential element of the No Surprises Act: Providers should have to give patients an advance explanation of benefits so patients can estimate their financial burden before they get treatment, in or out of network.Health price transparency is improving, but it’s outrageous that even two years after the No Surprises Act passed, everyone except the patient knows the price of a procedure or doctor’s visit in advance, leaving patients unpleasantly surprised.Patricia KelmarAlexandria, Va.The writer is senior director of Health Care Campaigns for U.S. PIRG.To the Editor:This is just the latest example of the schemes deployed by insurers to maximize profits by cutting reimbursements to physicians and shifting medically necessary health care costs onto patients.Whether it’s through third-party entities like MultiPlan or using tactics such as narrowing provider networks and restrictive prior authorization policies, insurers have the perverse incentive to boost revenue over offering adequate payment for quality patient care under the guise of “controlling costs.”More and more patients are being forced to decide whether they should forgo treatment because their insurer won’t pay the bill.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Channing Frye Is Diversifying Wine One Sip at a Time

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      When Channing Frye retired in 2019 after 15 years as a solid power forward in the N.B.A., he was at loose ends. With no long-term plans, he said, he began to feel depressed.“My wife said, ‘What do you love?’ I said, ‘I love people and I love wine.’ I could become a party planner or I could go into wine.”Mr. Frye chose wine. He established a label, Chosen Family Wines, based in Oregon, where he had settled with his wife, Lauren, after playing for the Portland Trail Blazers early in his career. His partners include Kevin Love, his former teammate with the Cleveland Cavaliers, who is still playing, now with the Miami Heat.The N.B.A. has had in recent years an intense connection to wine. Mr. Frye is one of many current and former players who’ve gone into the wine business, including Dwyane Wade, Tony Parker, Carmelo Anthony, CJ McCollum, Josh Hart and others. LeBron James and Gregg Popovich, the coach of the San Antonio Spurs, are serious connoisseurs who’ve turned many in the league on to wine.Mr. Frye walks a vineyard in Dundee, Ore., with Ayla Holstein.Celeste Noche for The New York TimesBut what sets Chosen Family Wine apart is its commitment — its mission, really — to bringing wine to communities that have long been neglected by the wine industry. While some companies have made efforts to bring people of color into already existing corporate structures, Chosen Family set about meeting people on their own terms to introduce them to wine in comfortable and familiar contexts.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Faith Ringgold Dies at 93; Wove Black Life Into Quilts and Children’s Books

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      A champion of Black artists, she explored themes of race, gender, class, family and community through a vast array of media and later the written word.Faith Ringgold, a multimedia artist whose pictorial quilts depicting the African American experience gave rise to a second distinguished career as a writer and illustrator of children’s books, died on Saturday at her home in Englewood, N.J. She was 93. Her death was confirmed by her daughter Barbara Wallace.For more than a half-century, Ms. Ringgold explored themes of race, gender, class, family and community through a vast array of media, among them painting, sculpture, mask- and doll-making, textiles and performance art. She was also a longtime advocate of bringing the work of Black people and women into the collections of major American museums.Ms. Ringgold’s art, which was often rooted in her own experience, has been exhibited at the White House and in museums and galleries around the world. It is in the permanent collections of the Metropolitan Museum of Art, the Guggenheim Museum, the Schomburg Center for Research in Black Culture and the American Craft Museum in New York; the Philadelphia Museum of Art; the Museum of Fine Arts in Boston; and other institutions.For Ms. Ringgold, as her work and many interviews made plain, art and activism were a seamless, if sometimes quilted, whole. Classically trained as a painter and sculptor, she began producing political paintings in the 1960s and ’70s that explored the highly charged subjects of relations between Black and white people, and between men and women, in America.“Few artists have kept as many balls in the air as long as Faith Ringgold,” the New York Times art critic Roberta Smith wrote in 2013, reviewing an exhibition of her work at ACA Galleries in Manhattan. “She has spent more than five decades juggling message and form, high and low, art and craft, inspirational narrative and quiet or not so quiet fury about racial and sexual inequality.”The hallmarks of Ms. Ringgold’s style included the integration of craft materials like fabric, beads and thread with fine-art materials like paint and canvas; vibrant, saturated colors; a flattened perspective that deliberately evoked the work of naïve painters; and a keen, often tender focus on ordinary Black people and the visual minutiae of their daily lives.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More