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In July, Douglas competed at the U.S. Classic and finished second in the all-around behind 2-time World All-Around Champion Simone Biles and ahead of Maggie Nichols with a score of 60.500. She had a consistent night hitting clean routines. She placed second on uneven bars behind Madison Kocian and ahead of Bailie Key with a score of 15.400, third on balance beam behind Biles and Olympic teammate Aly Raisman with a score of 14.900, and second on floor exercise behind Biles and ahead of Key and Nichols with a score of 15.000.
On August 13 & 15, Douglas competed at the P&G Championships Indianapolis, Indiana, where she placed 5th overall with a score of 117.950, placing behind Simone Biles, Maggie Nichols, Aly Raisman, and Bailie Key.
Douglas started Night 1 on vault and despite a hop backwards on her double-twisting Yurchenko vault, she scored a 15.150. On bars, she had a high-flying piked Tkachev connected to her Pak Salto and had an excellent landing on her double layout dismount. She scored a 15.300 on bars. On beam, she had a shaky routine with balance checks but did score a 14.450. On floor, she had bad wobbles on her double Y-turn and her double turn with leg at horizontal (then didn't connect to her single turn with leg at horizontal). She had low landings and almost fell on her tucked full-in and scored a 13.850 to end Night 1 in 3rd with a total all-around score of 58.700.
Douglas was named to the Senior National Team for the first time since 2012 and received an invite to the 2015 Worlds Selection Camp in September. On October 8, 2015, it was announced that Douglas had been selected as a member of the 2015 US Women's World Championship team.
At the 2015 World Artistic Gymnastics Championships in Glasgow, Scotland, Douglas shared in the team gold medal won by the U.S. She also qualified for the individual all-around in 3rd place, and to the uneven bars final in 6th place. Douglas won the silver in the all-around, becoming the first reigning Olympic all-around champion since 2001 to return to the sport and win a world championships medal.
On November 13, 2015, "The Columbus Dispatch" revealed that Douglas would participate in the 2016 AT&T American Cup, in Newark, New Jersey. It was confirmed on December 17, 2015.
In March 2016, following her win at the 2016 AT&T American Cup, Douglas participated at the 2016 City of Jesolo Trophy, where she won the all-around title.
Douglas competed at the 2016 Secret US Classic in Hartford, Connecticut, on June 4. She did not compete in the all-around competition, which was won by Fierce Five teammate Aly Raisman. Douglas competed on UB and BB, scoring a 15.650 on UB to finish in 3rd behind Ashton Locklear and Madison Kocian on that event. On the balance beam, she scored a 14.550. This meant her all-around total was 30.200.
On June 24 and 26, Douglas competed at the P&G Championships in St. Louis, Missouri. On Night 1, she scored a 14.800 on vault, a 15.100 on uneven bars, a 14.200 on balance beam, and a 14.800 on floor exercise. On Night 2, she scored a 14.900 on vault, a 14.500 on uneven bars, a 15.050 on balance beam, and a 14.450 on floor exercise. Her grand total was 117.800 for both nights, putting her in fourth all-around.
On July 10, Douglas was named to the team for the 2016 Olympics, alongside Simone Biles, Laurie Hernandez, Madison Kocian, and Aly Raisman. She and Raisman became part of a select group of American gymnasts including Miller and Dawes to compete in two Olympics.
On July 11, Mattel, Inc. released a "Gymnast Barbie" doll modeled after Douglas.
On August 7, Douglas competed in the Women's Qualification at the 2016 Summer Olympics at the HSBC Arena (Arena Olimpica de Rio) in Rio de Janeiro. She scored a 15.166 on the vault, a 15.766 on the uneven bars, a 14.833 on the balance beam, and a 14.366 on the floor exercise. Along with the team final, she individually qualified into the uneven bars final. Douglas narrowly missed advancing to the all-around final to defend her title despite tallying the third-highest score in the preliminaries, since she was outscored by teammates Biles and Raisman and rules only allow two competitors from one NOC, similar to Wieber four years ago in London. Douglas also changed coaches during the competition, but kept her assistant coach.
Douglas helped the United States win a second consecutive gold medal in the team event, which was also her third Olympic gold medal. When the team final scores were announced, Douglas and her teammates called themselves the "Final Five" in honor of coach Marta Karolyi's retirement and the team size being reduced to four beginning in 2020.
Douglas finished seventh in the uneven bars event final.
In December 2012, the Associated Press named Douglas the Female Athlete of the Year. She became the fourth gymnast to receive the honor.
Douglas was a nominee for the Laureus World Sports Award for Breakthrough of the Year. In June 2013, Douglas received two BET Awards for her accomplishments.
In July 2012, Douglas and her teammates were featured on the cover of "Sports Illustrated" "Olympic Preview" issue, the first time an entire Olympic gymnastics team had been featured on the cover of the magazine. On July 20, Douglas was on one of five "Time" magazine Olympic covers.
On August 3, the Kellogg Company announced that it would put a picture of Douglas standing on the podium with her gold medal on special-edition boxes of corn flakes, breaking the tradition of Olympic athletes appearing on Wheaties boxes.
On August 23, Douglas threw the ceremonial pitch at Citi Field when the Colorado Rockies played the New York Mets.
On August 26, Douglas spoke about racist bullying at Excalibur Gymnastics in an interview with Oprah Winfrey and how it nearly made her quit the sport. She described an incident in which she had heard other girls at the gym say, "Why doesn't Gabby do it? She's our slave," when chalk was needed to be scraped off the bars. The CEO of Excalibur Gymnastics, Gustavo Maure, denied these claims.
In September 2012, Nintendo announced that Douglas would be part of a new ad campaign for "New Super Mario Bros. 2". On September 4, Douglas led the Pledge of Allegiance at the 2012 Democratic National Convention in Charlotte, North Carolina.
In December 2012, Douglas released her autobiography, "Grace, Gold, and Glory: My Leap of Faith". The book debuted at number four on "The New York Times" Young Adult Bestseller List. That same month, she performed a miniature floor routine at the 2012 MTV Video Music Awards as part of the live performance by Alicia Keys and Nicki Minaj of the "Girl on Fire" Inferno Remix – following Douglas' success in London, Minaj had opted to end her verse with a reference to her: "I ain't tryna be that / Haters wanna see that / But I got 'em aggy / 'Cause I win the gold like Gabby."
Douglas had a small acting role on the Disney XD series "Kickin It" in the episode "Gabby's Gold", which aired on August 12, 2013.
"The Gabby Douglas Story" aired on Lifetime on February 1, 2014, starring Imani Hakim. Douglas performed all the gymnastic stunts herself. In 2015, it was announced that a reality television show for the Oxygen channel had been commissioned to follow Douglas and her family's life, issued under the working title "Douglas Family Gold". The show premiered on May 25, 2016. On August 23, 2016, it was announced that Douglas would be one of the judges at the 2017 Miss America pageant.
In 2017, she went public about having been sexually abused as a teenager by Larry Nassar, a former doctor for USA Gymnastics.
Douglas appeared as the boss in an episode of "Undercover Boss" that first aired on May 11, 2018.
Gymnastic equipment used by Douglas at the 2012 Summer Olympics is at the National Museum of African American History and Culture.
In 2020, Douglas competed on "The Masked Singer" spin-off "The Masked Dancer" as "Cotton Candy" and was declared the winner of the season.
Douglas is most well known for her high-flying release skills on the uneven bars (hence her nickname "The Flying Squirrel"), her resilient demeanor, and her upbeat floor exercise routines. The following routines are those that were performed by Douglas at either an Olympic or a World Championships competition.
Carl Anthony (born February 8, 1939) is an American architect, regional planner, social justice activist, and author. He is the founder and co-director of Breakthrough Communities, a project dedicated to building multiracial leadership for sustainable communities in California and the rest of the nation. He is the former President of the Earth Island Institute, and is the co-founder and former executive director of its urban habitat program, one of the first environmental justice organizations to address race and class issues.
Carl Anthony was born in a predominantly African American neighborhood in Philadelphia, PA known as Black Bottom. His parents, Lewis Anthony (born William Edwards) and Mildred Anthony (née Cokine), sent Carl and his older brother Lewie to B.B. Comegys, an integrated elementary school in which only about a dozen of the 300 students were African American, rather than the segregated school called Woodrow Wilson, which was only a block away from their home. They later went on to attend Dobbins Vocational School, where Anthony was enrolled in the carpentry and cabinet-making shop. His teachers were impressed by his drawings and suggested that he transfer to the architectural drafting homeroom, where he fostered his interest in architecture.
Anthony graduated from Columbia University Graduate School of Architecture, Planning, and Preservation in 1969. Upon his graduation, he was awarded the William Kinne Fellowship, a grant to enrich students’ education through travel. Anthony visited traditional towns and villages in West Africa, studying the ways in which people utilized their few resources to shape their environments.
Early Career: Architect’s Renewal Committee and UC Berkeley.
Anthony began his professional career in the late 1960s at the Architect's Renewal Committee in Harlem, one of the first community design centers in the United States. Upon his return to the United States from West Africa in 1971, he relocated to California and taught at the University of California, Berkeley as an Assistant Professor of Architecture in the College of Environmental Design, later becoming a faculty member of the university's College of Natural Resources. In 1980 he left UC-Berkeley to work as an architect and urban planner.
In 2000, Anthony joined the Ford Foundation. There, he served as Acting Director of the Community and Resource Development Unit. He was also Director of the Sustainable Metropolitan Communities Initiative for seven years, and funded the Conversation of Regional Equity, a dialogue between policy analysts and advocates concerning racial justice and sustainability.
In 2008, Anthony co-founded Breakthrough Communities, a project of Earth House Center, an advocacy nonprofit for regional equity and environmental and climate justice and is serving as the co-director. Anthony founded Six Wins, an initiative in the Bay Area addressing the mitigation of carbon dioxide emissions.
"The Earth, the City, and the Hidden Narrative of Race" (2017).
Anthony's memoir, "The Earth, the City, and the Hidden Narrative of Race", addresses regional equity and climate change.
David Aldridge (born February 10, 1965) is an American sports journalist who works as a writer for "The Athletic". He was previously a reporter for Turner Sports, contributing to their NBA and MLB coverage. Other outlets that Aldridge has written and contributed for include ESPN, NBA TV, NBA.com, "The Washington Post", "The Philadelphia Inquirer", and TBD. In 2016, he was awarded the Curt Gowdy Media Award by the Basketball Hall of Fame.
Aldridge is a graduate of DeMatha Catholic High School and American University and worked as a writer for "The Washington Post", where he spent nine years. During that time Aldridge was a beat writer covering Georgetown University basketball, the Washington Bullets, and the Washington Redskins. He also covered the 1992 Summer Olympics in Barcelona, national college basketball and football, the Super Bowl, the Stanley Cup playoffs, the World Series, the Indianapolis 500, and the U.S. Open tennis championships. To this day he is still an avid fan of American University men's basketball.
Before joining TNT in 2004, Aldridge reported for ESPN for eight years, primarily covering the NBA while occasionally doing NFL pieces. He wrote for ESPN.com and contributed to ESPN Radio. Aldridge frequently appeared on SportsCenter as well as "NBA 2 Night" (now "NBA Fastbreak") and "NBA Today." Aldridge conducted interviews for the "SportsCenter" "Sunday Conversations" with LeBron James, Allen Iverson, Shaquille O'Neal, Karl Malone and many others. He worked as an NBA sideline reporter both for ABC and ESPN in 2003 and 2004.
Aldridge worked at "The Philadelphia Inquirer" from 2004 to 2008, covering the National Football League and National Basketball Association as a reporter and columnist. He was part of the "Inquirer" team that received a second-place award for the series "The Future of Pro Sports" in 2005 from the Society of Professional Journalists, Greater Philadelphia Chapter. He was initially scheduled to be one of dozens laid off at the paper in January 2007, but was retained.
He worked as the "Insider" for TNT's "Inside the NBA" and did sideline reporting work during the regular season, All-Star Weekend and the NBA playoffs. He was also co-host of the weekly show "The Beat" on NBA TV, and was a commentator for other "NBA on TNT" features. He also worked as a sideline reporter for television broadcasts of college football games and the Major League Baseball divisional series.
From February 2007 through June 2008, Aldridge appeared on "The Tony Kornheiser Show" on Washington Post Radio and later WWWT in Washington, D.C. as co-host. He returned as sometime co-host of the latest incarnation on WTEM in September 2009. As of 2016, he is a regular co-host on the show.
In late 2018, Aldridge left Turner Sports to join the staff of "The Athletic" as a writer.
Kyle John Baker (born 1965) is an American cartoonist, comic book writer-artist, and animator known for his graphic novels and for a 2000s revival of the series "Plastic Man".
Baker has won numerous Eisner Awards and Harvey Awards for his work in the comics field.
Kyle Baker was born in the Queens, New York City, the son of art director John M. Baker and high-school audiovisual-department manager Eleanor L. Baker. He has a brother and a sister. Their parents had both attended Pratt Institute in Brooklyn, New York, and their father, who, Baker said, "worked in advertising [and] made junk mail", would "draw pictures for us and entertain us." Aside from this exposure to art, Baker has said, his early artistic influences included comic book artist Jack Kirby, caricaturist Jack Davis, and painter and magazine illustrator Norman Rockwell. He noted:
Other influences included the Charlton Comics artwork of Jim Aparo and Steve Ditko.
Baker's first credited work at Marvel is penciling the half-page entry "Kid Commandos" in "The Official Handbook of the Marvel Universe" #13 (February1984). After a handful of inking assignments on issues of "Transformers", "The Avengers Annual" #14 (1985) and elsewhere, Baker made his professional story-illustration debut as penciler and inker of the publisher Lodestone Comics' "Codename: Danger" #2 (October 1985), with a 23-page story written by Brian Marshall, Mike Harris, and Robert Loren Fleming. Cover penciling and more interior inking for Marvel and occasionally DC followed. His first story penciling for one of the two major comics companies was the three-issue "Howard the Duck: The Movie" (December 1986 - February 1987), adapting the 1986 film "Howard the Duck", and which he self-inked.
During this time, Baker also attempted to sell humor spot illustrations, but was rejected by the major newspaper syndicates. Jim Salicrup, a Marvel editor, did commission him "to write a few one-panel gags about [the superhero team] the X-Men", titled "It's Genetic" and appearing in the Marvel-produced fan magazine "Marvel Age".
At the recommendation of freelance artist Ron Fontes, an editor at the Dolphin imprint of the publishing house Doubleday expressed interest in Baker's sample strips of the character Cowboy Wally, "and asked if I had any more. I lied and said I did." This led to the 128-page graphic novel "Cowboy Wally". "The character of Noel was pretty much based on me," Baker said in 1999. "I lie all the time. The first part of the books is the collected strips, and the other three chapters were written for the book. "It didn't sell many copies," Baker said, "but at least it convinced DC [Comics] I should be allowed to draw, not just ink."
Baker went on to draw DC's 1980s comics revival of the pulp fiction hero "The Shadow", beginning with "The Shadow Annual" #2 (1988), followed by the monthly series from issue #7 to the final issue, #19 (February 1988 - January 1989). He did assorted other DC work including "Justice, Inc." In 1990, Baker and writer Len Wein produced three issues of "Dick Tracy" for The Walt Disney Company's Hollywood Comics, the first two issues containing original stories, the third an adaption the 1990 "Dick Tracy" film.
He began scripting comics around this time: Baker penciled and inked First Comics' "Classics Illustrated" #3 & 21 (February 1990 & March 1991), adapting, respectively, "Through the Looking Glass" and "Cyrano de Bergerac". While Peter David scripted the latter, Baker himself wrote the adaptation of the Lewis Carroll work. "I'd never planned to become a writer," Baker said in 1999. "I wrote short gags, like the kind you see in the newspapers and Cowboy Wally, but not stories. I only learned to write stories because people kept paying me to write them. In the years 1991-1994, 90 percent of my income was from writing, and I received very few offers to draw. I figured I should learn to write."
Baker achieved recognition and won an Eisner Award for his 1990 graphic novel "Why I Hate Saturn", published by the DC Comics imprint Piranha Press. Baker said in 1999 of his breakthrough work,
Baker's cartoons and caricatures began appearing in "BusinessWeek, Details, Entertainment Weekly, ESPN, Esquire, Guitar World, Mad, National Lampoon, New York, The New York Times, Rolling Stone, Spin, Us, Vibe", and "The Village Voice". He spent three years illustrating the weekly strip "Bad Publicity" for "New York" magazine.
Baker's animation has appeared on BET and MTV, and in animated "Looney Tunes" projects, including the animated feature "". Baker was "guest art director" for Cartoon Network's "Class of 3000", and storyboarded the "Class of 3000" Christmas special.
Baker said in 1999 he was writing a Christmas movie for Paramount Pictures, titled "U Betta Watch Out", and was animating a TV-movie title "Corey Q. Jeeters, I'm Telling on You".
At this point in his career, Baker stated in an interview, "Nobody tells me what to write or how to draw. Only an idiot would dare tell Kyle Baker how to make a good cartoon. Hollywood and the magazine world are full of idiots. They water my stuff down and make it unfunny."
He is credited with writing and storyboarding on the "Phineas and Ferb" television episodes "Candace Loses Her Head" and "Are You My Mummy?".
Baker drew writer Robert Morales' Marvel Comics miniseries "" #1-7 (January–July 2003), a Captain America storyline with parallels to the Tuskegee experiment. He also wrote and drew all but two issues (#7 and #12) of the 20-issue comedic adventure series "Plastic Man" vol. 4 (February 2004 - March 2006), starring the Golden Age of Comic Books superhero created by Jack Cole for Quality Comics. Baker contributed to the Dark Horse Comics series "The Amazing Adventures of the Escapist", a spin-off of Michael Chabon's novel, "The Amazing Adventures of Kavalier & Clay".
In 2006, his company, Kyle Baker Publishing, serialized a four-part comic book series about Nat Turner, and published the series "The Bakers", based on his family life, in two anthologies, "Cartoonist" and "Cartoonist Vol. 2: Now with More Bakers". He has also continued to provide comics material sporadically to Marvel, DC and Image Comics through at least 2010. In 2007 and 2008, Image Comics published Baker's six-issue Image Comics miniseries "Special Forces", a teen-soldier military satire that criticizes the exhortation of felons and disabled Americans into military service. "The New York Times" reviewed the 2009 trade-paperback collection of the first four issues, calling it "the harshest, most serrated satire of the Iraq War yet published."
In 2008, Watson-Guptill published "How to Draw Stupid and Other Essentials of Cartooning", Baker's art instruction book. That same year, Baker hosted the comics industry's Harvey Awards. In 2010, he became regular artist on Marvel Comics' mature-audience MAX-imprint series, "Deadpool Max".
Anatole Paul Broyard (July 16, 1920 – October 11, 1990) was an American writer, literary critic, and editor from New Orleans who wrote for "The New York Times". In addition to his many reviews and columns, he published short stories, essays, and two books during his lifetime. His autobiographical works, "Intoxicated by My Illness" (1992) and "Kafka Was the Rage: A Greenwich Village Memoir" (1993), were published after his death. He moved to Brooklyn, New York, with his family as a youth. His daughter Bliss Broyard wrote and was interviewed about the family.
Anatole Broyard was born in 1920 in New Orleans, Louisiana, into a Black Louisiana Creole family, the son of Paul Anatole Broyard, a carpenter and construction worker, and his wife, Edna Miller, neither of whom had finished elementary school. Broyard was descended from ancestors who were established as free people of color before the Civil War. The first Broyard recorded in Louisiana was a French colonist in the mid-eighteenth century. Broyard was the second of three children; he and his sister Lorraine, two years older, were light-skinned with European features. Their younger sister, Shirley, who eventually married Franklin Williams, an attorney and civil rights leader, had darker skin and African features.
When Broyard was a child during the Depression, his family moved from New Orleans to New York City, as part of the Great Migration of African Americans to the northern industrial cities. His father thought there were more work opportunities in that city.
According to his daughter, Bliss Broyard, "My mother said that when my father was growing up in Brooklyn, where his family had moved when he was six, he'd been ostracized by both white and black kids alike. The black kids picked on him because he looked white, and the white kids rejected him because they knew his family was black. He'd come home from school with his jacket torn, and his parents wouldn't ask what happened. My mother said that he didn't tell us about his racial background because he wanted to spare his own children from going through what he did."
They lived in a working-class and racially diverse community in Brooklyn. Having grown up in the French Quarter's Creole community, Broyard felt he had little in common with the urban blacks of Brooklyn. He saw his parents "pass" as white to get work, as his father found the carpenters union to be racially discriminatory. By high school, the younger Broyard had become interested in artistic and cultural life; his sister Shirley said he was the only one in the family with such interests.
As writer and editor Brent Staples wrote in 2003, "Anatole Broyard wanted to be a writer – and not just a 'Negro writer' consigned to the back of the literary bus." The historian Henry Louis Gates, Jr. wrote: "In his terms, he did not want to write about black love, black passion, black suffering, black joy; he wanted to write about love and passion and suffering and joy."
Broyard had some stories accepted for publication in the 1940s. He began studying at Brooklyn College before the U.S. entered World War II. When he enlisted in the army, the armed services were segregated and no African Americans were officers. He was accepted as white at enlistment and he took that opportunity to enter and successfully complete officers school. During his service, Broyard was promoted to the rank of captain.
After the war, Broyard maintained his white identity. Staples later noted:
Those who had escaped the penalties of blackness in the military were often unwilling to go back to second-class citizenship after the war. One demographer estimated that more than 150,000 black people sailed away permanently into whiteness during the 1940s alone, marrying white spouses and most likely cutting off their black families.
Broyard used the GI Bill to study at the New School for Social Research in Manhattan. He settled in Greenwich Village, where he became part of its bohemian artistic and literary life. With money saved during the war, Broyard owned a bookstore for a time. As he recounted in a 1979 column:
Eventually, I ran away to Greenwich Village, where no one had been born of a mother and father, where the people I met had sprung from their own brows, or from the pages of a bad novel... Orphans of the avant-garde, we outdistanced our history and our humanity.
Broyard did not identify with or champion black political causes. Because of his artistic ambition, in some circumstances he never acknowledged that he was partially black. On the other hand, Margaret Harrell has written that she and other acquaintances were casually told that he was a writer and black before meeting him, and not in the sense of having to keep it secret. That he was partially black was well known in the Greenwich Village literary and art community from the early 1960s.
During the 1940s, Broyard published stories in "Modern Writing", "Discovery", and "New World Writing", three leading pocket-book format "little magazines". He also contributed articles and essays to "Partisan Review", "Commentary", "Neurotica", and New Directions Publishing. Stories of his were included in two anthologies of fiction widely associated with the Beat writers, but Broyard did not identify with them.
He often was said to be working on a novel, but never published one. After the 1950s, Broyard taught creative writing at The New School, New York University, and Columbia University, in addition to his regular book reviewing. For nearly fifteen years, Broyard wrote daily book reviews for "The New York Times". The editor John Leonard was quoted as saying, "A good book review is an act of seduction, and when he [Broyard] did it there was no one better."
In the late 1970s, Broyard started publishing brief personal essays in the "Times", which many people considered among his best work. These were collected in "Men, Women and Anti-Climaxes", published in 1980. In 1984 Broyard was given a column in the "Book Review", for which he also worked as an editor. He was among those considered "gatekeepers" in the New York literary world, whose positive opinions were critical to a writer's success.
Broyard first married Aida Sanchez, a Puerto Rican woman, and they had a daughter, Gala. They divorced after Broyard returned from military service in World War II.
In 1961, at the age of 40, Broyard married again, to Alexandra (Sandy) Nelson, a modern dancer and younger woman of Norwegian-American ancestry. They had two children: son Todd, born in 1964, and daughter Bliss, born in 1966. The Broyards raised their children as white in suburban Connecticut. When they had grown to young adults, Sandy urged Broyard to tell them about his family (and theirs), but he never did.
Shortly before he died, Broyard wrote a statement that some people later took to represent his views. In explaining why he so missed his friend the writer Milton Klonsky, with whom he used to talk every day, he said that after Milton died, "No one talked to me as an equal." Although critics framed the issue of Broyard's identity as one of race, Broyard wanted personal equality and acceptance: he wanted neither to be talked down to nor to be looked up to, as he believed either masked the true human being.
Sandy told their children of their father's secret before his death. Broyard died in October 1990 of prostate cancer, which had been diagnosed in 1989. His first wife and child were not mentioned in his "The New York Times" obituary.
Novelist Chandler Brossard, who knew Broyard in the late 1940s, based a character on him in his first novel, "Who Walk in Darkness" (1952). After the manuscript was submitted to New Directions Publishing, poet Delmore Schwartz read it and informed Broyard that the character Henry Porter was based on him; Broyard threatened to sue unless the novel's opening line was changed. It originally had read "People said Henry Porter was a 'passed Negro,'" which Brossard reluctantly changed to "People said Henry Porter was an illegitimate." Brossard restored his original text for a 1972 paperback edition.
Novelist William Gaddis, who likewise knew Broyard in the late 1940s, modeled a character named "Max" on Broyard in his first novel, "The Recognitions" (1955).
Given Broyard's stature in the literary world and discussions about his life after his death, numerous literary critics, such as Michiko Kakutani, Janet Maslin, Lorrie Moore, Charles Taylor, Touré, and Brent Staples, have made comparisons between the character Coleman Silk in Philip Roth's "The Human Stain" (2000) and Broyard.
Some speculated that Roth had been inspired by Broyard's life, and commented on the larger issues of race and identity in American society. Roth stated in a 2008 interview, however, that Broyard was not his source of inspiration. He explained that he had only learned about Broyard's black ancestry and choices from the Gates "New Yorker" article, published months after he had already started writing the novel. He, instead, said in the open letter that his inspiration was Melvin Tumin, a longtime friend.
In 1996, six years after Broyard's death, Henry Louis Gates criticized the writer, in a profile entitled "White Like Me" in "The New Yorker", for concealing his African-American ancestry. Gates expanded his essay in "The Passing of Anatole Broyard", a piece published the next year in his "Thirteen Ways of Looking at a Black Man" (1997). Gates felt that Broyard had deceived friends and family by "passing" as white, but also understood his literary ambition. He wrote,
When those of mixed ancestry—and the majority of blacks are of mixed ancestry—disappear into the white majority, they are traditionally accused of running from their "blackness." Yet why isn't the alternative a matter of running to their "whiteness"?
In 2007, Broyard's daughter, Bliss, published a memoir, "One Drop: My Father's Hidden Life: A Story of Race and Family Secrets". (The title related to the "one-drop rule". Adopted into law in most southern states in the early twentieth century, it divided society into two groups, whites and blacks, classifying all persons with any known black ancestry as black.) Her book explored her psychological and physical journeys as she met members of her father's extended family in New York, New Orleans, and on the West Coast, and her developing ideas about her own identity and life.
John William Dunjee (also John Dungy or John Dungee) (1833 – 1903) was an American missionary, educator, Baptist minister, publisher, agent of Storer College and founder of Baptist churches across the United States.
Dunjee also played a particularly prominent role in supporting Storer College as an agent for the school, a Freewill Baptist College for African Americans in Harpers Ferry, West Virginia. William Still, the abolitionist, who helped facilitate Dunjee's escape from slavery, also served as a trustee of Storer.
After his work at Storer, Dunjee next became a minister with the Baptist Home Missionary Society. He traveled throughout the country from New England to the South to the Midwest preaching and starting new Baptist churches for African Americans in mainly rural areas.
Dunjee was also an involved supporter of many other African-American educational institutions, such as Spelman College, Shaw College, Hampton College, and Langston University. His friends included such well-known figures as Frederick Douglass. Additionally, Dunjee founded the "Harper's Ferry Messenger" in 1882 and served as business manager. His children Drusilla Dunjee Houston, a historian, and Roscoe Dunjee later contributed to the "Messenger" and were editors of the "Black Dispatch" in Oklahoma.
John Dunjee died in Oklahoma City in 1903.
Joy DeGruy (née Leary) is an author, academic, and public speaker who previously served as assistant professor at the Portland State University School of Social Work. She is current president and CEO of DeGruy Publications, Inc. She is most known for her book "Post Traumatic Slave Syndrome," originally published by UpTone Press in 2005. DeGruy and her research projects have featured in news and activist coverage of contemporary African-American social issues, in addition to public lectures and workshops on U.S. college campuses.
DeGruy's family background is from the American south. She grew up in South Central, Los Angeles where she graduated from Crenshaw High School. She recommends the book "The Warmth of Other Suns" as a source of insight into her family.
She holds a bachelor's of science in Communication, two master's degrees (in Social Work and Clinical Psychology), and a Ph.D. in Social Work and Social Research from Portland State University's Graduate School of Social Work. Her doctoral dissertation, completed in 2001, studied predictive variables for African American Male Youth Violence using Sociocultural Theory, Social Learning Theory and Trauma Theory frameworks; she also employed the "new" theory of Post Traumatic Slave Syndrome, which would later become the subject of her 2005 book. Professor Eileen M. Brennan served as DeGruy's dissertation advisor.
DeGruy's theorization is based on qualitative and quantitative research conducted by the author in both America and Africa.
The New Republic described the theory as "original thinking" that "explains[s] the effects of unresolved trauma on the behaviors of blacks that is transmitted from generation to generation," and suggested that the theory can be historicized more broadly alongside "new emphasis" on trauma-informed care in social work writ large. The California Institute of Integral studies has said P.T.S.S. "lays the groundwork for understanding how the past has influenced the present, and opens up the discussion of how we can use the strengths we have gained to heal."
DeGruy's theory is not without controversy. P.T.S.S. has been criticized by scholars such as Ibram X. Kendi, who included it in his . P.T.S.S. has also come under fire by politically conservative advocacy group The National Association of Scholars. Among academics, critical engagement with P.T.S.S. formed the subject of subsequent doctoral dissertation work, which demonstrated that further research was needed to determine the theory's applicability. Critics have suggested that as an alternative to "pathologizing" African Americans, "future research should focus on the mental illness of African Americans' oppressors."