#and then traveling from June 8th until mid-December

[waugh-bao]

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[shanicenessssssssss]

Travel Tales Pt. 1

This thing started because I wanted to impress a man, yall.

Mid-December 2022, a few days after my birthday, I started flirting with a guy I knew for a few years and found fairly attractive, but never gave any energy to, and the first conversation we had was the spark that lit the match. The following is a snippet of said conversation:

Him - “I’m going to St. Lucia in a few days.” Me - “Make sure and visit Gros Islet and Rodney Bay, the marina is beautiful on a clear moonlit night. You see all the lights from the stars and the boats reflecting on the water and hear the waves slapping against the pier. It’s so calm and serene….” Him - “Hmmm… you’ve been everywhere, I can’t carry you anywhere new!” Me, intrigued - “I haven’t even scratched the surface on places I wanna go, especially in the Caribbean.” Him - “Where do you want to go next?” Me, thinking nothing of what I was saying, cuz I had no intention of actually going anywhere - “Jamaica maybe? Or Barbados, as it’s quite close to home (Tobago).”

Fast forward 4 months, I have my plane ticket to Jamaica in hand and am about to book my Airbnb in Ocho Rios. I am in no way encouraging anyone to do it this way, it is quite inadvisable to travel with someone who you have no real ties with. If you take anything away from reading this, it is that IT LITERALLY TAKES ONE DECISION.

I said yes that day in December. He intoxicated me with the idea of it being just a series of steps to get to the goal. No limits, no hesitation. Logistics would come later. It always seems impossible before you do it, before you take the first leap.

The last time I traveled was 2016 to the aforementioned St. Lucia, with my mom and daughter, who was a toddler at that time. If I’m not mistaken, the decision to go was somewhat similar, with me doing the convincing. Our saving grace was that a close relative was working on the island at the time, so accommodations and transportation was covered (and so expenses were lessened, hallelujah!). Basically, I think I’m due for a couple-hours long plane trip to a new place.

I’m making it sound rather click-bait-y, aren’t I? I haven’t said one thing yet about where the money being spent was coming from, and DUN-DUN-DUNNNN, if Mr. Mysterious is still my plus-one.

Let’s touch on the first part first - the finances.

I currently have a savings account in a local credit union with about $25K in savings, which was one of my savings goals. I am currently permanently employed, bringing in $50K a year before taxes, BUT I was living paycheck to paycheck until last year October, where I made my first official business investment that is bringing in an extra $2K a month, for at least the next year or so. While I have used some of that money to pay off the loan used to make the investment, some of that money was used to fund this trip. I also made the decision to allocate some of my salary towards the trip as well, instead of eating too much into the investment returns. More on this later.

I had identified the PERFECT travel time. I pat myself on the back every time I think about how this played out. In T&T, there’s a public holiday on the 30th of May, and another one on the 8th of June in 2023. Recall that I am employed, and obviously that means I would want to exploit all public holidays (anytime a holiday fell on a Thursday, best believe I was coughing on the phone the Friday so I could be home for 4 whole days…cough cough). I also did some preliminary research on the island and I realized that the island was bigger than home (i.e. I couldn’t drive around the entire island in a day comfortably while sightseeing), so a short 3- or 4- day trip would leave me wanting, or extremely exhausted by trying to squeeze everything into such a short time. After conferring with Mr. Mysterious, I decided that a week-long stay was the sweet spot - enough time to explore some of the tourist-y things to do, while allowing for relaxation and regular life as well. Put those two together, and we get a full 7 days in Jamaica, a prep day before and a rest day after.

Things are falling into place so seamlessly! That only gave me further confirmation that this trip was supposed to happen. Nothing can stop me now! ……..*crickets*

Mr. Mysterious, who has been talking to me almost every single day since that fateful December day, suddenly ghosted me March-month end. No explanation, just radio silence. Granted, we had had a bit of a tiff concerning something unrelated right before the ghosting, but I don’t think it was serious enough to warrant THIS?! I wouldn’t know though, cuz he’s a ghost 👻. I can’t ask. I waited a few days, and sent a follow-up “Hope you are well” text, expecting a response at least, but I've been left on read till this day. I was shook, cuz the safety net I was banking on with this trip was that I wasn’t alone, so the burden of solo travel would be at least lessened. And he also was a seasoned traveler, the exact opposite to me, so that was another thing that made me breathe a bit easier. He knew the ins and outs of international travel and could guide me along. For the first few nights after accepting the disappointment of the absolute curry duck (Trini stale joke) I had just experienced, the trip loomed in front of me, again gigantic and seemingly impossible once again. All the insecurities I had silenced with a proud middle finger at the start of the journey came back up, cackling in my face: Can you even afford to go on this trip alone? How will you get around? You will be stuck in Jamaica for 7 whole days…what were you even thinking? Are you even still considering going, after this shake-up? The nasty chatter got louder in my head. I admit, I looked up whether I could get a full refund of my ticket (no), and if I could ask somebody, anybody to take Mr. Mysterious’ place (also no, that’s unreasonable).

So, I pulled up my big girl panties and made the big girl decision to do my first solo trip to Jamaica in June 2023. I mean, it would have happened eventually - I had put traveling on my vision board, BUT I didn’t expect God to drop me into the deep end like this?!! Damn!

On a more serious note, what I won’t do is question how things are playing out. I have learned long ago that even if things don’t work out exactly how I planned it to, things always work out in the end. Maybe I would be so caught up in building my future career that I won’t have time to travel as much as I like. Maybe this is exactly what I need to build some more confidence in myself and my abilities. Maybe this is what I need to clear out the fuzz in my head - time away from everything, in a hammock, spending much-needed alone time. It will be revealed to me why this happened when it happened, how it happened, in due time. I’m not even stressed or pressed. Also, I am on the last leg of my degree, and having put blood, sweat and tears into the last couple years, I convinced myself that I needed to reward myself for sticking with it and completing it. While an international trip was not on my list of things I thought up of for the celebration (it was more along the lines of a celebratory dinner at a nice restaurant with a few glasses of wine), I sold myself on the idea, as I was intoxicated by Mr. Mysterious’ siren song. I deserve!

Let me touch on some of the things I had the good fortune of having and utilizing in this prep time, leading up to the actual flight dates. Remember, planning had started a whole 6 months before, so I had allotted time for procrastination and plan changes. We’ll discuss Google Flights, using a calendar in a specific way, and what I plan to do.

I’m on a tight budget, and so my main issue was allocating my limited resources in the best way possible to be able to cover every essential. Before the ghosting situation, my main expenses were the plane tickets, and spending money (Mr. Mysterious gallantly offered to handle the accommodation costs). Google Flights had come in CLUTCH! The site has a calendar to see when the cheapest flights were, compared by dates, as well as the option to track flights’ price changes. AS I had already outlined the PERFECT travel dates, I just scrolled down to the dates, and lo and behold, the prices I saw were among the cheapest for the month. I had used the price tracking  option, as I started accumulating funds for the purchase of the ticket. Things were chugging along well! No reason why something would go off-kilter, right? Right??

I remember vividly waking up one morning and seeing that the price of the ticket had become a few hundred dollars more expensive.

My heart dropped. I hadn’t gotten all the money at that time, and it was honestly discouraging to have to stretch my already-stretched budget to accommodate this extra expenditure. Nevertheless, she persisted. I had accumulated my $4k in cash, ready to buy tickets by early February. Sis was READY and DETERMINED. I had listened to a podcast that celebrated doing the Thing that involved one taking a giant step with no going backsies. That Thing for me was spending $4k on a trip. It seems silly and trivial now, but my heart was set on doing the Thing. My dreams were consumed by the fantasy excursions Mr. Mysterious and I were going to experience on this beautiful island. Then another confirmation that I was supposed to go on this trip - the airline I was planning to go with had a Valentine’s day sale:

This was it, yall. I was going to Jamaica. This was the sign from God I needed. And I didn’t even see it, it was Mr. Mysterious who sent me a screenshot from his IG feed. My heart sang for that entire week. I was going to Jamaica! I did the Thing, and bought my tickets on Valentine’s Day!

Going on in the background of all this was my 12-week planning on Notion. I had counted 12 weeks into the future from the week I decided to go in mid-December, and created a calendar with a task to complete for each week. These tasks included making a list of locations to visit when we got there, making lists of things to pack, things that I need to have organized before and during the trip, etc. This gave me the time I required to do any future-based thinking, grouped neatly into manageable segments so I wouldn’t feel overwhelmed when I sat and thought about things. I chose Notion simply because I had previous experience using the calendar when I was planning out semester tasks and due dates, and I had always found it to be very easy to use. Plus, you could decorate it. I had embraced my full “speak it into existence” self, and put up pictures and affirmations - a virtual vision board, if you will. Also, this 12-week spread would give me a couple ‘free’ weeks before the actual trip, instead of being exact with the timing. Maybe God knew what He was guiding me to do, cuz with this change in the plan, I would need some extra time to sort stuff out.

To be honest, I still don’t believe that Mr. Mysterious ghosted me. I keep oscillating between the reasoning that he probably has something major going on in his life and needs some time to himself, and the Bad Bitch alter-ego, looking down at him with a upturned nose, lumping him with all the other fuckboys I had the unfortunate luck of meeting and interacting with. The insecure baby girl inside of me has so many questions, mainly if I had done something wrong, but if I am to take my mental health and self-confidence journey seriously, I have to be okay with whatever happens around me, regardless of whether it is positive or negative in my perception. When I start overthinking about it, I stop and visualize myself being a boat in the middle of a vast ocean, in a thunderous storm. Waves as tall as houses are rocking me side to side, up and down, but I still stay afloat, above the waves. I stay confident that this storm will end, and I will complete the journey I planned to, in one piece. I am confident in God’s plan; when thing don’t go my way I stress a lil bit, then release my hold on the outcome I wanted, knowing better will come.

We have reached the point where we discuss the now. Yes, I lied about not being stressed or pressed. I am very much stressing and pressing. I now face some nail-biting, belly-hurting decisions. Best believe that I am not making light of the situation. I know it is so much more dangerous to be a female solo traveler. The decisions I choose to make have unknown consequences and repercussions that I have no clue is in my future. The travel blogs I’ve read seem to gloss over this fact, varnishing it with pretty titles such as “Do’s and Don’ts To Keep You Safe”, maybe because it is an ugly truth that danger is lurking no matter where you go.

Maybe I really do need the time away from the usual routine to view my life through fresh, new eyes. Maybe this really is the Thing I need to start off the rest of my life with. God knows I’ve been feeling hamster-wheel-y for the past few months. Maybe this will be the worst thing I will have ever done, a complete waste of money and time. Regardless of what the outcome is, if I am to experience it, I will. Being adaptable to change, instead of resistant to it may very well be the lesson I have to learn from this experience.

As of now, the most immediate pivot I have to make is that I have to tack on a few extra hundred US to cover Airbnb accommodations for the entire week, as well as more spending money as I have no ‘safety net’ in Mr. Mysterious anymore, per se. As I type this, I remember a quote I saw recently:

And with that, I bid you adieu. I will post an update when I get closer to The Date. Thanks for sticking with my dramatic ass till the end. I would LOVE to hear any tips for beginner solo traveling, and comment with more places that I can visit in Jamaica. I appreciate your love and support!

Kisses,

S.

[greatworldwar2]

• Archibald Wavell

Archibald Percival Wavell, 1st Earl Wavell, was a senior officer of the British Army. He served in the Second Boer War, the Bazar Valley Campaign and World War I. He served in the Second World War, initially as Commander-in-Chief Middle East until his defeat by the German army in 1941. He later served as Commander-in-Chief, India, from July 1941 until June 1943, and then served as Viceroy of India until his retirement in February 1947.

Born the son of Archibald Graham Wavell and Lillie Wavell. He was born on May 5th, 1883 in Colchester, Essex, England. Wavell attended the Royal Military College, Sandhurst. After graduating from Sandhurst, Wavell was commissioned into the British Army on May 8th, 1901 as a second lieutenant in the Black Watch, and joined the 2nd battalion of his regiment in South Africa to fight in the Second Boer War. In 1903 he was transferred to join the battalion in India and, having been promoted to lieutenant on August 13th, 1904, he fought in the Bazar Valley Campaign of February 1908. In January 1909 was seconded from his regiment to be a student at the Staff College.

Wavell was working as a staff officer when the First World War began. As a captain, he was sent to France to a posting at General HQ of the British Expeditionary Force as General Staff Officer Grade 2, but shortly afterwards, in November 1914, was appointed brigade major of 9th Infantry Brigade. He was wounded in the Second Battle of Ypres of 1915, losing his left eye and received the Military Cross. As the war continued he continued to receive further promotions of rank until eventually in 1918 Wavell received a further staff appointment as Assistant Adjutant & Quartermaster General, working at the Supreme War Council in Versailles. In March 1918 Wavell was made a temporary brigadier general and returned to Palestine where he served as the brigadier general of the General Staff with XX Corps, part of the Egyptian Expeditionary Force.

The Middle Eastern theatre was quiet for the first few months of the war until Italy's declaration of war in June 1940. The Italian forces in North and East Africa greatly outnumbered the British and Wavell's policy was therefore one of "flexible containment" to buy time to build up adequate forces to take the offensive. Having fallen back in front of Italian advances from Libya, Eritrea and Ethiopia, Wavell mounted successful offensives into Libya in December 1940 and Eritrea and Ethiopia in January 1941. His troops in East Africa also had the Italians under pressure and at the end of March his forces in Eritrea under William Platt won the decisive battle of the campaign at Keren which led to the occupation of the Italian colonies in Ethiopia and Somaliland. However, in February Wavell had been ordered to halt his advance into Libya and send troops to Greece where the Germans and Italians were attacking. He disagreed with this decision but followed his orders. The result was a disaster. The Germans were given the opportunity to reinforce the Italians in North Africa with the Afrika Korps and by the end of April the weakened Western Desert Force had been pushed all the way back to the Egyptian border, leaving Tobruk under siege.

In early June Wavell sent a force under General Wilson to invade Syra and Lebanon, responding to the help given by the Vichy France authorities there to the Iraq Government during the Anglo-Iraqi War. Initial hopes of a quick victory faded as the French put up a determined defence. Churchill determined to relieve Wavell and after the failure in mid June of Operation Battleaxe, intended to relieve Tobruk, he told Wavell on June 20th that he was to be replaced by Auchinleck, whose attitude during the Iraq crisis had impressed him. Rommel rated Wavell highly, despite Wavell's lack of success against him.

Wavell in effect swapped jobs with Auchinleck, transferring to India where he became Commander-in-Chief, India and a member of the Governor General's Executive Council. Initially his command covered India and Iraq so that within a month of taking charge he launched Iraqforce to invade Persia in co-operation with the Russians in order to secure the oilfields and the lines of communication to the Soviet Union. Wavell once again had the misfortune of being placed in charge of an undermanned theatre which became a war zone when the Japanese declared war on the United Kingdom in December 1941. On February 23rd, 1942, with Malaya lost and the Allied position in Java and Sumatra. In order to wrest some of the initiative from the Japanese, Wavell ordered the Eastern Army in India to mount an offensive in the Arakan, which commenced in September. After some initial success the Japanese counter-attacked, and by March 1943 the position was untenable, and the remnants of the attacking force was withdrawn.In January 1943, Wavell was promoted to field marshal.

On 22nd April Wavell returned to London. On May 4th he had an audience with the King, before departing with Churchill for America, returning on May 27th. On June 15th, Churchill invited him to dinner and offered him the Viceroyalty of India, made public on June 19th he assumed the Viceroyalty on October 19th. Lady Wavell joined him in London on July 14th, when they took up a suite at the Dorchester. When Linlithgow retired as viceroy in the summer of 1943, Wavell was chosen to replace him. he was formally named Governor-General and Viceroy of India. In 1947 Wavell returned to England and was made High Steward of Colchester. The same year, he was created Earl Wavell and given the additional title of Viscount Keren of Eritrea and Winchester.

Wavell died on May 24th, 1950 after a relapse following abdominal surgery in May. After his death, his body lay in state at the Tower of London where he had been Constable. A military funeral was held on June 7th, 1950 with the funeral procession travelling along the Thames from the Tower to Westminster Pier and then to Westminster Abbey for the funeral service.

[blackkudos]

Ernie Barnes

Ernest Eugene Barnes, Jr. (July 15, 1938 – April 27, 2009) was an African-American painter, well known for his unique style of elongation and movement. He was also a professional football player, actor and author.

Early life

Childhood

Ernest Barnes, Jr. was born during Jim Crow in "the bottom" community of Durham, North Carolina, near the Hayti District of the city. His father, Ernest E. Barnes, Sr. (1899–1966) worked as a shipping clerk for Liggett Myers Tobacco Company in Durham. His mother, Fannie Mae Geer (1905–2004) oversaw the household staff for prominent Durham attorney and local Board of Education member Frank L. Fuller, Jr.

On days when Fannie allowed "June" (Barnes' nickname to family and childhood friends) to accompany her to the Fuller home, Barnes had the opportunity to peruse the art books and listen to classical music. The young Ernest was intrigued and captivated by the works of master artists. By the time Barnes entered the first grade, he was familiar with the works of such masters as Toulouse-Lautrec, Delacroix, Velasquez, Rubens, and Michelangelo. When he entered junior high, he could appreciate, as well as decode, many of the cherished masterpieces within the walls of mainstream museums – although it would be a half dozen more years before he was allowed entrance because of his race.

A self-described chubby and unathletic child, Barnes was taunted and bullied by classmates. He continually sought refuge in his sketchbooks, hiding in the less-traveled parts of campus away from other students. One day in a quiet area, Ernest was found drawing in a notebook by the masonry teacher, Tommy Tucker, who was also the weightlifting coach and a former athlete. Tucker was intrigued with Barnes' drawings so he asked the aspiring artist about his grades and goals. Tucker shared his own experience of how bodybuilding improved his strength and outlook on life. That one encounter would begin Barnes' discipline and dedication that would permeate his life. In his senior year at Hillside High School, Barnes became the captain of the football team and state champion in the shot put.

Education

In 1956 Barnes graduated from Hillside High School with 26 athletic scholarship offers. Segregation prevented him from attending nearby Duke or the University of North Carolina. His mother promised him a car if he lived at home, so he chose North Carolina College at Durham (formerly North Carolina College for Negroes, now North Carolina Central University). He majored in art on a full athletic scholarship. His college track coach was the famed Dr. Leroy T. Walker. Barnes played the football positions of tackle and center at NCC at Durham.

At age 18, on a college art class field trip to the newly desegregated North Carolina Museum of Art in Raleigh, Barnes inquired where he could find "paintings by Negro artists." The docent responded, "Your people don't express themselves that way." Poetic justice prevailed 23 years later in 1979 when Barnes returned to the museum for a solo exhibition, hosted by North Carolina Governor James Hunt.

In 1990 Barnes was awarded an Honorary Doctorate of Fine Arts by North Carolina Central University.

In 1993 Barnes was selected to the "Black College Football 100th Year All-Time Team" by the Sheridan Broadcasting Network.

In 1999 Barnes was bestowed "The University Award", the highest honor by The University of North Carolina Board of Governors.

Professional football

Baltimore Colts (1959-60)

In December 1959 Barnes was drafted in the 10th round by the then-World Champion Baltimore Colts. He was originally selected in the 8th-round by the Washington Redskins, who renounced the pick minutes after discovering he was a Negro.

Shortly after his 22nd birthday, while at the Colts training camp, Barnes was interviewed by N.P. Clark, sportswriter for the Baltimore News-Post newspaper. Until then Barnes was always known by his birth name, Ernest Barnes. But when Clark's article appeared on July 20, 1960, it referred to him as "Ernie Barnes," which changed his name and life forever.

Titans of New York (1960)

Barnes was the last cut of the Colts' training camp. After Baltimore released Barnes, the newly formed Titans of New York immediately signed him because the team had first option on any player released within the league.

Barnes loathed being on the Titans. He said, "(New York) was a circus of ineptitude. The equipment was poor, the coaches not as knowledgeable as the ones in Baltimore. We were like a group of guys in the neighborhood who said let's pretend we're pros."

After a 27-21 loss to the Oilers on October 9, 1960 at Jeppesen Stadium, his teammate Howard Glenn died. Barnes asked for his release two days later. Glenn had sustained a broken neck in the first half of the game and it was reported that injury caused his death. However, Barnes and other teammates have long attributed it to heatstroke. In a later interview, Barnes said, "They never really said what he died of. (Coach) Sammy Baugh said he'd broken his neck in a game the Sunday before. But how could that be? How could he have hit in practice all week with a broken neck? What he died of, I think, was more like heat exhaustion. I told them I didn't want to play on a team like this."

San Diego Chargers (1960-62)

Barnes then accepted a previous offer from Coach Al Davis at the Los Angeles Chargers. Barnes joined their team at mid-season as a member of their taxi squad. The following season in 1961 the team moved to San Diego. It was there Barnes met their quarterback and future congressman Jack Kemp. The two men would share a lifelong close friendship.

During the off-seasons with the Chargers, Barnes was program director at San Diego's Southeast YMCA working with parolees from the California Youth Authority. He also worked as the Sports Editor for The Voice, a local San Diego newspaper, writing a weekly column called "A Matter of Sports."

Barnes also illustrated several articles for San Diego Magazine during the off-seasons in 1962 and 1963.

Barnes' first television interview as a professional football player and artist was in 1962 on The Regis Philbin Show on KGTV in San Diego. It was Philbin's first talk show.

Denver Broncos (1963-64)

After a series of injuries, Barnes was cut midway through his second season with the Chargers. He then signed with the Denver Broncos.

Barnes was called "Big Rembrandt" by his Denver teammates. Coincidentally, Barnes and Rembrandt share the same birthday.

Barnes was often fined by Denver Coach Jack Faulkner when caught sketching during team meetings. One of the sketches that he was fined $100 for sold years later for $1000.

During the Broncos games, Barnes would run off the field and onto the sideline to give his offensive line coach Red Miller the scraps of paper of his sketches and notes.

"During a timeout you've got nothing to do – you're not talking – you're just trying to breathe, mostly. Nothing to take out that little pencil and write down what you saw. The shape of the linemen. The body language a defensive lineman would occupy... his posture... What I see when you pull. The reaction of the defense to your movement. The awareness of the lines within the movement, the pattern within the lines, the rhythm of movement. A couple of notes to me would denote an action... an image that I could instantly recreate in my mind. Some of those notes have been made into paintings. Quite a few, really."

On Barnes' 1964 Denver Broncos Topps football card he is shown wearing jersey #55 although he never played in that number. His jersey was #62.

Canadian Football League

In 1965, after his second season with the Broncos, Barnes signed with the Saskatchewan Roughriders in Canada. In the final quarter of their last exhibition game, Barnes fractured his right foot, effectively ending his professional football career.

Retirement

Shortly after his final football game, Barnes went to the 1965 NFL owners meeting in Houston in hopes of becoming the league's official artist. There he was introduced to New York Jets owner Sonny Werblin, who was intrigued by Barnes and his art. He paid for Barnes to bring his paintings to New York City. Later they met at a gallery and unbeknownst to Barnes, three art critics were there to evaluate his paintings. They told Werblin that Barnes was "the most expressive painter of sports since George Bellows."

In what was undoubtedly one of the most unusual personnel transactions in the history of the NFL, Werblin retained Barnes as a salaried player, but positioned him in front of the canvas, rather than on the football field. Werblin told Barnes "You have more value to the country as an artist than as a football player"

Barnes' November 1966 debut solo exhibition, hosted by Werblin at the Grand Central Art Galleries in New York City was critically acclaimed and all the paintings sold.

In 1971 Barnes wrote a series of essays (illustrated with his own drawings) in the Gridiron newspaper titled "I Hate the Game I Love" (with Neil Amdur). These articles became the beginning manuscript of his autobiography, later-published in 1995 titled From Pads to Palette which chronicles his transition from professional football to his art career.

In October 2007, the National Football League and Time Warner hosted a tribute to Ernie Barnes in New York City.

Work

Barnes credits his college art instructor Ed Wilson for laying the foundation for his development as an artist. Wilson was a sculptor who instructed Barnes to paint from his own life experiences. "He made me conscious of the fact that the artist who is useful to America is one who studies his own life and records it through the medium of art, manners and customs of his own experiences."

All his life, Barnes was ambivalent about his football experience. In interviews and in personal appearances, Barnes said he hated the violence and the physical torment of the sport. However, his years as an athlete gave him unique, in-depth observations. "(Wilson) told me to pay attention to what my body felt like in movement. Within that elongation, there's a feeling. And attitude and expression. I hate to think had I not played sports what my work would look like."

Barnes' first painting sale was in 1959 for $90 to Boston Celtic Sam Jones for a painting called Slow Dance. It was subsequently lost in a fire at Jones' home.

Critics have defined Barnes' work as neo-mannerist. Based on his signature use of serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes, art critic Frank Getlein credited Barnes as the founder of the neo-Mannerism movement - because of the similarity of technique and composition prevalent during the 16th century, as practiced by such masters as Michelangelo and Raphael.

Numerous artists have been influenced by Barnes' art and unique style. Accordingly, several copyright infringement lawsuits have been settled and are currently pending.

Framing

Ernie Barnes framed his paintings with distressed wood in homage to his father. In his 1995 autobiography, artist Ernie Barnes wrote of his father: “... with so little education, he had worked so hard for us. His legacy to me was his effort, and that was plenty. He knew absolutely nothing about art.”

Weeks before Ernie Barnes’ first solo art exhibition in 1966, he was at the family home in Durham, North Carolina as his father lay in the hospital after suffering a stroke. He noticed the usually well-maintained white picketed fence had gone untended since his father’s illness. Days later, Ernest E. Barnes, Sr. died. “I placed a painting against the fence and stood away and had a look. I was startled at the marriage between the old wood fence and the painting. It was perfect. In tribute, Daddy’s fence would hug all my paintings in a prestigious New York gallery. That would have made him smile.”

Eyes closed

A consistent and distinct feature in Barnes' work is the closed eyes of his subjects. "It was in 1971 when I conceived the idea of The Beauty of the Ghetto as an exhibition. And I exposed it to some people who were black to get a reaction. And from one (person) it was very negative. And when I began to express my points of view (to this) professional man, he resisted the notion. And as a result of his comments and his attitude I began to see, observe, how blind we are to one another's humanity. Blinded by a lot of things that have, perhaps, initiated feelings in that light. We don't see into the depths of our interconnection. The gifts, the strength and potential within other human beings. We stop at color quite often. So one of the things we have to be aware of is who we are in order to have the capacity to like others. But when you cannot visualize the offerings of another human being you're obviously not looking at the human being with open eyes." "We look upon each other and decide immediately: This person is black, so he must be... This person lives in poverty, so he must be..."

Sports art

The Los Angeles Olympic Organizing Committee named Barnes "Sports Artist of the 1984 Olympic Games". LAOOC President Peter V. Ueberroth said Barnes and his art "captured the essence of the Olympics" and "portray the city's ethnic diversity, the power and emotion of sports competition, the singleness of purpose and hopes that go into the making of athletes the world over." Barnes was commissioned to create five Olympic-themed paintings and serve as an official Olympic spokesman to encourage inner city youth.

In 1985 Barnes was named the first "Sports Artist of the Year" by the United States Sports Academy.

In 1987 Barnes created Fastbreak, a commissioned painting of the World Champion Los Angeles Lakers basketball team that included Magic Johnson, Kareem Abdul-Jabbar, James Worthy, Kurt Rambis and Michael Cooper.

Carolina Panthers football team owners Rosalind and Jerry Richardson (Barnes' former Colts teammate) commissioned Barnes to create the large painting Victory in Overtime (approximately 7 ft. x 14 ft.). It was unveiled before the team's 1996 inaugural season and hangs permanently in the owner's suite at the stadium.

To commemorate their 50th anniversary in 1996, the National Basketball Association commissioned Barnes to create a painting with the theme, "Where we were, where we are, and where we are going." The painting, The Dream Unfolds hangs in the Naismith Memorial Basketball Hall of Fame in Springfield, Massachusetts. A limited edition of lithographs were made, with the first 50 prints going to each of the NBA's 50th Anniversary All-Time Team.

In 2004 Barnes was named "America's Best Painter of Sports" by the American Sport Art Museum & Archives.

Other notable sports commissions include paintings for the New Orleans Saints, Oakland Raiders and Boston Patriots football team owners.

"The Bench" painting

Shortly after Barnes was drafted by the Baltimore Colts in 1959, Barnes was invited to see their Colts' NFL Championship Game vs. the New York Giants at Memorial Stadium in Maryland. The Colts won 31-16 and Barnes was filled with layers of emotion after watching the game from behind the Colts' bench. He had just signed his football contract and met his new teammates Johnny Unitas, Jim Parker, Lenny Moore, Art Donovan, Gino Marchetti, Alan Ameche and "Big Daddy" Lipscomb.

Barnes later wrote that after he returned home, he "placed a stretched canvas on the easel. Without making any preliminary sketches, I started painting in quick, direct movements hoping to capture the vision in my mind before it evaporated." He created The Bench in less than an hour. Throughout his life, The Bench remained in Barnes' possession, even taking it with him to all his football training camps and hiding it under his bed. It would be the only painting Barnes would never sell, despite many substantial offers, including a $25,000 bid at his first show in 1966.

On June 18, 2014 The Bench was formally presented to the Pro Football Hall of Fame in Canton, Ohio for their permanent collection by his wife Bernie Barnes.

"The Sugar Shack" painting

Barnes created the painting The Sugar Shack in the 1970s. It gained international exposure when it was used on the Good Times television series and on the 1976 Marvin Gaye album I Want You.

According to Barnes, he created the original version of The Sugar Shack after reflecting upon his childhood, during which he was not "able to go to a dance." In a 2008 interview, Barnes said, "The Sugar Shack is a recall of a childhood experience. It was the first time my innocence met with the sins of dance. The painting transmits rhythm so the experience is re-created in the person viewing it. To show that African-Americans utilize rhythm as a way of resolving physical tension." The Sugar Shack has been known to art critics for embodying the style of art composition known as "Black Romantic," which, according to Natalie Hopkinson of The Washington Post, is the "visual-art equivalent of the Chitlin' circuit." When Barnes first created The Sugar Shack, he included his hometown radio station WSRC (Durham, NC) on a banner. He incorrectly listed the frequency at 620. It was actually 1410. Barnes confused what he used to hear WSRC's on-air personality Norfley Whitted saying "620 on your dial" when Whitted was at his former station WDNC in the early 1950s.

After Marvin Gaye asked him for permission to use the painting as an album cover, Barnes then augmented the painting by adding references that allude to Gaye's album, including banners hanging from the ceiling to promote the album's singles.

During the Motown 25: Yesterday, Today, Forever anniversary television special on March 25, 1983, tribute was paid to The Sugar Shack with a dance interpretation of the painting.

The original piece is currently owned by actor Eddie Murphy.

Music album covers

Barnes' work appears on the following album covers:

The Sugar Shack on Marvin Gaye's 1976 I Want You

The Disco on self-titled 1978 Faith, Hope & Charity

Donald Byrd and 125th Street, NYC on self-titled 1979 album

Late Night DJ on Curtis Mayfield's 1980 Something to Believe In

The Maestro on The Crusaders' 1984 Ghetto Blaster

Head Over Heels on The Crusaders' 1986 The Good and Bad Times

In Rapture on B.B. King's 2000 Making Love is Good For You

Other notable art and exhibitions

In response to the 1960s "Black is beautiful" cultural movement and James Brown's 1968 Say it loud: I'm Black and I'm Proud song, Barnes created The Beauty of the Ghetto exhibition of 35 paintings that toured major American cities from 1972 to 1979 hosted by dignitaries, professional athletes and celebrities.

Of his The Beauty of the Ghetto exhibition, Barnes said, "I am providing a pictorial background for an understanding into the aesthetics of black America. It is not a plea to people to continue to live there (in the ghetto) but for those who feel trapped, it is...a challenge of how beautiful life can be." When The Beauty of the Ghetto was on view in 1974 at the Museum of African Art in Washington, DC, Rep. John Conyers stressed the important positive message of the exhibit in the Congressional Record.

In the wake of the 1992 Los Angeles riots, Mayor Tom Bradley used Barnes' painting Growth Through Limits as an inspirational billboard in the inner-city. Barnes contributed $1000 to the winner of a slogan contest among the city's junior high school students that best represented the painting.

Barnes' work was included in the 1995 traveling group exhibition 20th Century Masterworks of African-American Artists II.

Barnes' painting The Advocate was donated to the North Carolina Central University School of Law in 1998 by a private collector. Barnes felt compelled to create the painting from his "concern with the just application of the law... the integrity of the legal process for all people, but especially those without resource or influence."

While watching the tragic events of 9/11, Barnes created the painting In Remembrance. It was formally unveiled at the Seattle Art Museum. It was later acquired on behalf of the City of Philadelphia and donated to its African American Museum. A limited number of giclée prints were sold with 100% of the proceeds going to the Hero Scholarship Fund, which provides college tuition and expenses to children of Pennsylvania police and fire personnel killed in the line of duty.

Three of Barnes' original paintings were exhibited at the London, England Whitechapel Gallery in the 2005 Back to Black: Art, Cinema & Racial Imaginary art exhibition.

In 2005 rapper producer Kanye West commissioned Barnes to create a painting to depict his life-changing experience following his near-fatal car crash. A Life Restored measures 9 ft. x 10 ft. and hangs on West's dining room ceiling. In the center of the painting is a large angel reaching out to a much smaller figure of West. It was inaccurately reported in several media outlets that the image of the angel in the painting is of West.

Barnes' final public exhibition was in October 2007 when the NFL and Time Warner sponsored A Tribute to Artist and NFL Alumni Ernie Barnes in New York City. It was hosted by Donna Brazile, Susan L. Taylor, Brig Owens and his former teammate, the Hon. Jack Kemp (who died five days after Barnes in 2009).

At the time of his death, Barnes had been working on an exhibition titled Liberating Humanity From Within which featured a majority of paintings he created in the last few years of his life. Plans will continue. The exhibition will travel throughout the country and abroad.

Television and movies

Barnes appeared on a 1967 episode of the game show To Tell The Truth The panelists correctly guessed Barnes was the professional football player-turned-artist.

Barnes played Deke Coleman in the 1969 motion picture Number One with Charlton Heston and Jessica Walter.

In 1971 Barnes, along with Mike Henry, created the Super Comedy Bowl, a CBS television variety special which showcased pro athletes with celebrities such as John Wayne, Frank Gifford, Alex Karras, Joe Namath, Jack Lemmon, Lucille Ball, Carol Burnett and Tony Curtis. A second special aired in 1972.

Barnes played Dr. Penfield in the 1971 movie Doctors' Wives, which starred Dyan Cannon, Richard Crenna, Gene Hackman and Carroll O'Connor.

Throughout the Good Times television series (1974–79) most of the paintings by the character J.J. are works by Ernie Barnes. However a few images, including "Black Jesus" in the first season (1974), were not painted by Barnes. The Sugar Shack made its debut on the show's fourth season (1976–77) during the opening and closing credits. In the fifth season (1977–78) The Sugar Shack was only used in the closing credits for five early episodes during that season. In the sixth season (1978–79), The Sugar Shack was only used in opening credits for the first eight episodes and in the closing credits for five early episodes during that season. In the fifth and sixth seasons (1977–79), The Sugar Shack appears in the background of the Evans family apartment.

Barnes had a bit part on two episodes of Good Times: The Houseguest (February 18, 1975) and Sweet Daddy Williams (January 20, 1976).

The artwork of Ernie Barnes was also used on television shows Columbo, The White Shadow, Dream On, The Hughleys, The Wayans Bros, Wife Swap, Soul Food and the movies Drumline and Boyz n The Hood.

In 1981 Barnes played the famed baseball catcher Josh Gibson of the Negro league in the television movie Don't Look Back: The Story of Leroy ‘Satchel' Paige with Lou Gossett, Jr., who played Paige.

The 2016 film Southside With You about Barack and Michelle Obama's first date features the artwork of Ernie Barnes.

Personal

In addition to his parents, Barnes was preceded in death by his half-brother Benjamin B. Rogers, Jr. (1920–1970). His brother James (b. 1942) resides in Durham, North Carolina. Barnes has five children: Deidre (b. 1957) and Michael (b. 1961) with first wife Andrea Burnett (1957–1965); and Sean (b. 1965), Erin (b. 1969) and Paige (b. 1972) with second wife Janet Thaleen Norton (1965–1983). He was also married to Bernadine "Bernie" Gradney (1984 - to death).

Barnes died on April 27, 2009 at Cedars Sinai Hospital in Los Angeles, California from blood cancer. He was cremated and his ashes were scattered in Durham, North Carolina near the site of where his family home once stood, and at the beach in Carmel, California, one of his favorite cities.

Quotations

"An artist paints his own reality."

"The artist uses creative visualization and the athlete uses the same thing... It's the muscle of the mind, that's the main muscle."

"I am bound by the strongest ties with the organic life of all people. And being an artist has created in me the desire to continually affirm beauty."

"The five years I lived in (the Fairfax district) a Los Angeles Jewish community led me to learn of their unyielding spiritual strength and internal sense of grandeur. I met people who had survived a hard school of struggle."

"My early paintings have all the rawness and passion of the (football) game."

"I was angry. I wanted to show and tell people what I had seen and felt. I wanted to show the dehumanization that is professional football. My only expression is through art. I painted until I had exhausted the hate. I had so many ideas that I couldn't put a canvas up quick enough."

"One day on the playing field, I looked up and the sun was breaking through the clouds, hitting the unmuddied areas on the uniforms, and I said, ‘that's beautiful!' I knew then that it was all over being a player. I was more interested in art. So I traded my cleats for canvas, my bruises for brushes, and put all the violence and power I had felt on the field into my paintings."

"Throughout my five seasons in the NFL, I remained at the deepest level of my being...an artist."

Wikipedia

[unchartedroute-blog]

T-minus 25 Days

Hello, and welcome to Uncharted Route.

Like many people who study abroad (or travel in general), I’ve decided to start a blog to keep y’all updated with my whereabouts, thoughts and sightings over the next couple of months.  Because I’ve been asked by my friends - where the heck do you live?  Where in the world will you be next?

And those are good questions because I realized that currently my life is the complete opposite of stationary.  Compared to the typical college student... I’m all over the place.  My fellow Huskies can relate.  I could be in one city for a couple of months working and then move back to Boston for classes once it’s over and then move again for another co-op.  As an undergrad at Northeastern, I am always unsure about where I will be the following semester because of our co-op program and core belief in experiential learning. Of course this isn’t something that I JUST realized.  Since freshman year of college I’ve known that Northeastern was an untraditional school.  I was aware that my story wasn’t going to be the same as my friends’.  With co-op, I’d be graduating in 5 years instead of the traditional 4, and literally half of my undergraduate career could be spent in a different city or country either working or studying abroad.  But as a junior having completed a co-op, I understand this odd mobile lifestyle Northeastern students live because now I live it too.

I guess this all goes to explain where I’ve been the last couple of months and where I will be.  I literally have been hopping around back and forth between cities - and it’s been a real doozy.  Last semester I did my first co-op in Boston. I was living in a really nice apartment that was close to campus from May until November.  It was small, but I loved it there.  Unfortunately, I had to find a new crib for December because apparently the lease ended then (which I didn’t even know about until like September when one of my roommates broke the news to me).  Anyways.  I had to sell all of my furniture and find a temporary place to crash for 3 weeks, which honestly was so stressful because PACKING and who sublets a place for only 3 weeks in December?  My anxiety levels were through the roof.  But SPOILER ALERT: God answered my prayers and I miraculously found a place to sublet temporarily - it wasn’t glamorous (I literally slept on a sleeping bag on top of the mattress because I didn’t have proper bedding... and I lived with 5 very messy girls) but at least I had a roof over my head.  My last day of work was on the 22nd.  My bus to NYC was on the 23rd.  I spent (literally) a day and a half at home - my time was dedicated to either packing for Europe or spending time with family.  On Christmas, I left for Europe to spend some QT with my sister and came back to New York on January 8th.  Since then, I’ve been spending time with my parents and catching up with friends. And honestly, I love this free time that I have because I can really think about my next move without the added distraction of work or classes.  

So this takes me to my final point - what’s next on my agenda?  Well... ICYMI: I will be studying abroad in Shanghai with CIEE at East China Normal University (yes, that’s really what it’s called, and no, I don’t know what prompted the founder to give it that name) starting next month until mid-June.  I’m so anxious but also very excited for this new journey since I’ve never been to Shanghai before.  I’ve studied abroad in the past through Northeastern’s NU.in program, but this time will be different because instead of being with only Northeastern students, I will be with students from various colleges and universities.  CIEE is a national study abroad program, so I’ll be with students from schools like Harvard, GWU, UCLA... you get the point.  It won’t be as structured as the NU.in program, meaning that I’ll have more freedom to travel and explore personally uncharted territory. This blog will serve as a creative outlet for me to show you lovely readers what I’m up to through text posts, vlogs, and pictures. Yes, you heard (technically read) that right.  I will be vlogging while in China!  Well, hopefully I’ll have access to Youtube using a VPN so I can post weekly videos reflecting on what I’ve done.  So stay tuned for the link to my youtube channel.  Warning: my video editing skills are pretty amateur, and I apologize in advance if my first video ends up being a disaster.  

Ok, if you’ve made it this far I love you and you have WAY too much free time on your hands.

Catch you all on the flip side,

CL

[blackkudos]

Ernie Barnes

Ernest Eugene Barnes Jr. (July 15, 1938 – April 27, 2009) was an American artist, well known for his unique style of elongation and movement. He was also a professional football player, actor and author.

Early life

Childhood

Ernest Barnes Jr. was born during the Jim Crow in "the bottom" community of Durham, North Carolina, near the Hayti District of the city. He had a younger brother, James (b. 1942), as well as a half-brother, Benjamin B. Rogers Jr. (1920–1970). Ernest Jr. was nicknamed "June". His father, Ernest E. Barnes Sr. (–1966), worked as a shipping clerk for Liggett Myers Tobacco Company. His mother, Fannie Mae Geer (1905–2004), oversaw the household staff for a prominent Durham attorney and local Board of Education member, Frank L. Fuller Jr.

On days when Fannie allowed "June" (Barnes' nickname to family and childhood friends) to accompany her to work, Mr. Fuller encouraged him to peruse the art books and listen to classical music. The young Ernest was intrigued and captivated by the works of master artists. By the time Barnes entered the first grade, he was familiar with the works of such masters as Toulouse-Lautrec, Delacroix, Rubens and Michelangelo. When he entered junior high school, he could appreciate, as well as decode, many of the cherished masterpieces within the walls of mainstream museums – although it would be many more years before he was allowed entrance because of segregation.

A self-described chubby and unathletic child, Barnes was taunted and bullied by classmates. He continually sought refuge in his sketchbooks, finding the less-traveled parts of campus away from other students. One day Ernest was drawing in his notebook in a quiet area of the school. He was discovered hiding there by the masonry teacher, Tommy Tucker, who was also the weightlifting coach and a former athlete. He was intrigued with Barnes' drawings, so he asked the aspiring artist about his grades and goals. Tucker shared his own experience of how bodybuilding improved his strength and outlook on life. That one encounter would begin Barnes' discipline and dedication that would permeate his life. In his senior year at Hillside High School, Barnes became the captain of the football team and state champion in the shot put.

College education

Barnes attended racially segregated schools. In 1956 he graduated from Hillside High School with 26 athletic scholarship offers. Segregation prevented him from attending nearby Duke University or the University of North Carolina. His mother promised him a car if he lived at home so he attended the all-Black North Carolina College at Durham (formerly North Carolina College for Negroes, now North Carolina Central University). At North Carolina College he majored in art on a full athletic scholarship. His track coach was Dr. Leroy T. Walker. Barnes played the football positions of tackle and center at NCC.

At age 18, on a college art class field trip to the newly desegregated North Carolina Museum of Art in Raleigh, Barnes inquired where he could find "paintings by Negro artists". The docent responded, "Your people don't express themselves that way". 23 years later, in 1979, when Barnes returned to the museum for a solo exhibition, North Carolina Governor Jim Hunt attended.

In 1990 Barnes was awarded an Honorary Doctorate of Fine Arts by North Carolina Central University.

In 1999 Barnes was bestowed "The University Award", the highest honor by the University of North Carolina Board of Governors.

Professional football

Baltimore Colts (1959–60)

In December 1959 Barnes was drafted in the 10th round by the then-World Champion Baltimore Colts. He was originally selected in the 8th-round by the Washington Redskins, who renounced the pick minutes after discovering he was a Negro.

Shortly after his 22nd birthday, while at the Colts training camp, Barnes was interviewed by N.P. Clark, sportswriter for the Baltimore News-Post newspaper. Until then Barnes was always known by his birth name, Ernest Barnes. But when Clark's article appeared on July 20, 1960, it referred to him as "Ernie Barnes," which changed his name and life forever.

Titans of New York (1960)

Barnes was the last cut of the Colts' training camp. After Baltimore released Barnes, the newly formed Titans of New York immediately signed him because the team had first option on any player released within the league.

Barnes loathed being on the Titans. He said, "(New York team organization) was a circus of ineptitude. The equipment was poor, the coaches not as knowledgeable as the ones in Baltimore. We were like a group of guys in the neighborhood who said let's pretend we're pros."

After their seventh game on October 9, 1960 at Jeppesen Stadium, his teammate Howard Glenn died. Barnes asked for his release two days later. The cause of Glenn's death was reported as a broken neck. However, Barnes and other teammates have long attributed it to heatstroke. In a later interview, Barnes said, "They never really said what he died of. (Coach) Sammy Baugh said he'd broken his neck in a game the Sunday before. But how could that be? How could he have hit in practice all week with a broken neck? What he died of, I think, was more like heat exhaustion. I told them I didn't want to play on a team like this."

San Diego Chargers (1960–62)

Barnes decided to accept a previous offer from Coach Al Davis at the Los Angeles Chargers. Barnes joined their team at mid-season as a member of their taxi squad. The following season in 1961 the team moved to San Diego. It was there Barnes met teammate Jack Kemp, and the two men would share a very close lifelong friendship.

During the off-seasons with the Chargers, Barnes was program director at San Diego's Southeast YMCA working with parolees from the California Youth Authority. He also worked as the Sports Editor for The Voice, a local San Diego newspaper, writing a weekly column called "A Matter of Sports."

Barnes also illustrated several articles for San Diego Magazine during the off-seasons in 1962 and 1963.

Barnes' first television interview as a professional football player and artist was in 1962 on The Regis Philbin Show on KGTV in San Diego. It was Philbin's first talk show. They would see each other again 45 years later when Philbin attended the tribute to Barnes in New York City.

Denver Broncos (1963–64)

Midway through Barnes' second season with the Chargers, he was cut after a series of injuries. He was then signed to the Denver Broncos.

Barnes was often fined by Denver Coach Jack Faulkner when caught sketching during team meetings. One of the sketches that he was fined $100 for sold years later for $1000.

Many times during breaks, Barnes would run off the field onto the sideline to give his offensive line coach Red Miller the scraps of paper of his sketches and notes.

"During a timeout you've got nothing to do – you're not talking – you're just trying to breathe, mostly. Nothing to take out that little pencil and write down what you saw. The shape of the linemen. The body language a defensive lineman would occupy... his posture... What I see when you pull. The reaction of the defense to your movement. The awareness of the lines within the movement, the pattern within the lines, the rhythm of movement. A couple of notes to me would denote an action... an image that I could instantly recreate in my mind. Some of those notes have been made into paintings. Quite a few, really."

On Barnes' 1964 Denver Broncos Topps football card he is shown wearing jersey #55 although he never played in that number. His jersey was #62.

Barnes was called "Big Rembrandt" by his Denver teammates. Coincidentally, Barnes and Rembrandt share the same birthday.

Canadian Football League

In 1965, after his second season with the Broncos, Barnes signed with the Saskatchewan Roughriders in Canada. In the final quarter of their last exhibition game, Barnes fractured his right foot, effectively ending his professional football career.

Retirement

Shortly after his final football game, Barnes went to the 1965 NFL owners meeting in Houston in hopes of becoming the league's official artist. There he was introduced to New York Jets owner Sonny Werblin, who was intrigued by Barnes and his art. He paid for Barnes to bring his paintings to New York City. Later they met at a gallery and unbeknownst to Barnes, three art critics were there to evaluate his paintings. They told Werblin that Barnes was "the most expressive painter of sports since George Bellows."

In what was one of the most unusual posts in the history of the NFL, Werblin retained Barnes as a salaried player, but positioned him in front of the canvas, rather than on the football field. Werblin told Barnes, "You have more value to the country as an artist than as a football player."

Barnes' November 1966 debut solo exhibition, hosted by Werblin at the Grand Central Art Galleries in New York City was critically acclaimed and all the paintings sold.

In 1971 Barnes wrote a series of essays (illustrated with his own drawings) in the Gridiron newspaper titled "I Hate the Game I Love" (with Neil Amdur). These articles became the beginning manuscript of his autobiography, later-published in 1995 titled From Pads to Palette which chronicles his transition from professional football to his art career.

In 1993 Barnes was selected to the "Black College Football 100th Year All-Time Team" by the Sheridan Broadcasting Network.

Artwork

Barnes credits his college art instructor Ed Wilson for laying the foundation for his development as an artist. Wilson was a sculptor who instructed Barnes to paint from his own life experiences. "He made me conscious of the fact that the artist who is useful to America is one who studies his own life and records it through the medium of art, manners and customs of his own experiences."

All his life, Barnes was ambivalent about his football experience. In interviews and in personal appearances, Barnes said he hated the violence and the physical torment of the sport. However, his years as an athlete gave him unique, in-depth observations. "(Wilson) told me to pay attention to what my body felt like in movement. Within that elongation, there's a feeling. And attitude and expression. I hate to think had I not played sports what my work would look like."

Barnes sold his first painting "Slow Dance" at age 21 in 1959 for $90 to Boston Celtic Sam Jones. It was subsequently lost in a fire at Jones' home.

Numerous artists have been influenced by Barnes' art and unique style. Accordingly, several copyright infringement lawsuits have been settled and are currently pending.

Framing

Ernie Barnes framed his paintings with distressed wood in homage to his father. In his 1995 autobiography, Barnes wrote of his father: “... with so little education, he had worked so hard for us. His legacy to me was his effort, and that was plenty. He knew absolutely nothing about art.”

Weeks before Ernie Barnes’ first solo art exhibition in 1966, he was at the family home in Durham as his father lay in the hospital after suffering a stroke. He noticed the usually well-maintained white picketed fence had gone untended since his father’s illness. Days later, Ernest E. Barnes Sr. died. “I placed a painting against the fence and stood away and had a look. I was startled at the marriage between the old wood fence and the painting. It was perfect. In tribute, Daddy’s fence would hug all my paintings in a prestigious New York gallery. That would have made him smile.”

Eyes closed

A consistent and distinct feature in Barnes' work is the closed eyes of his subjects. "It was in 1971 when I conceived the idea of The Beauty of the Ghetto as an exhibition. And I showed it to some people who were Black to get a reaction. And from one (person) it was very negative. And when I began to express my points of view (to this) professional man, he resisted the notion. And as a result of his comments and his attitude I began to see, observe, how blind we are to one another's humanity. Blinded by a lot of things that have, perhaps, initiated feelings in that light. We don't see into the depths of our interconnection. The gifts, the strength and potential within other human beings. We stop at color quite often. So one of the things we have to be aware of is who we are in order to have the capacity to like others. But when you cannot visualize the offerings of another human being you're obviously not looking at the human being with open eyes." "We look upon each other and decide immediately: This person is black, so he must be... This person lives in poverty, so he must be..."

Jewish community influence

Moving to an all-Jewish neighborhood in Los Angeles known as the Fairfax District in 1971 was a major turning point in Barnes' life and art.

"Fairfax enlivened me to everyday life themes," he said, "and forced me to look at my life – the way I had grown up, the customs within my community versus the customs in the Jewish community. Their customs were documented, ours were not. Because we were so clueless that our own culture had value and because of the phrase 'Black is Beautiful' had just come into fashion, Black people were just starting to appreciate themselves as a people. But when it was said, 'I'm Black and I'm Proud,' I said, 'proud of what?' And that question of 'proud of what' led to a series of paintings that became “The Beauty of the Ghetto.'"

"The Beauty of the Ghetto" exhibition

In response to the 1960s "Black is beautiful" cultural movement and James Brown's 1968 "Say it Loud: I'm Black and I'm Proud" song, Barnes created The Beauty of the Ghetto exhibition of 35 paintings that toured major American cities from 1972 to 1979 hosted by dignitaries, professional athletes and celebrities.

Of this exhibition, Barnes said, "I am providing a pictorial background for an understanding into the aesthetics of black America. It is not a plea to people to continue to live there (in the ghetto) but for those who feel trapped, it is...a challenge of how beautiful life can be."

When the exhibition was on view in 1974 at the Museum of African Art in Washington, DC, Rep. John Conyers stressed the important positive message of the exhibit in the Congressional Record.

Sports art

The Los Angeles Olympic Organizing Committee named Barnes "Sports Artist of the 1984 Olympic Games". LAOOC President Peter V. Ueberroth said Barnes and his art "captured the essence of the Olympics" and "portray the city's ethnic diversity, the power and emotion of sports competition, the singleness of purpose and hopes that go into the making of athletes the world over." Barnes was commissioned to create five Olympic-themed paintings and serve as an official Olympic spokesman to encourage inner city youth.

1985: Barnes was named the first "Sports Artist of the Year" by the United States Sports Academy.

1987: Barnes created Fastbreak, a commissioned painting of the World Champion Los Angeles Lakers basketball team that included Magic Johnson, Kareem Abdul-Jabbar, James Worthy, Kurt Rambis and Michael Cooper.

1996: Carolina Panthers football team owners Rosalind and Jerry Richardson (Barnes' former Colts teammate) commissioned Barnes to create the large painting Victory in Overtime (approximately 7 ft. x 14 ft.). It was unveiled before the team's 1996 inaugural season and hangs permanently in the owner's suite at the stadium. Richardson and Barnes were Baltimore Colts teammates briefly in 1960.

1996: To commemorate their 50th anniversary in 1996, the National Basketball Association commissioned Barnes to create a painting with the theme, "Where we were, where we are, and where we are going." The painting, The Dream Unfolds hangs in the Naismith Memorial Basketball Hall of Fame in Springfield, Massachusetts. A limited edition of lithographs were made, with the first 50 prints going to each of the NBA's 50th Anniversary All-Time Team.

2004: Barnes was named "America's Best Painter of Sports" by the American Sport Art Museum & Archives.

Other notable sports commissions include paintings for the New Orleans Saints, Oakland Raiders and Boston Patriots football team owners.

"The Bench" painting

Shortly after Barnes was drafted by the Baltimore Colts, Barnes was invited to see their Colts' NFL Championship Game vs. the New York Giants at Memorial Stadium in Maryland on December 27, 1959. The Colts won 31–16 and Barnes was filled with layers of emotion after watching the game from the Colts' bench. At age 21, he had just signed his football contract and met his new teammates Johnny Unitas, Jim Parker, Lenny Moore, Art Donovan, Gino Marchetti, Alan Ameche and "Big Daddy" Lipscomb.

After he returned home, without making any preliminary sketches, he went directly to a blank canvas to record his point of view. Using a palette knife, "painting in quick, direct movements hoping to capture the vision...before it evaporated," Barnes said, he created "The Bench" in less than an hour. Throughout his life, The Bench remained in Barnes' possession, even taking it with him to all his football training camps and hiding it under his bed. It would be the only painting Barnes would never sell, despite many substantial offers, including a $25,000 bid at his first show in 1966.

In 2014, Barnes' wife Bernie presented The Bench painting to the Pro Football Hall of Fame for their permanent collection in Canton, Ohio.

"The Sugar Shack" painting

Barnes created the painting The Sugar Shack in 1971. It gained international exposure when it was used on the Good Times television series and on the 1976 Marvin Gaye album I Want You.

According to Barnes, he created the original version of The Sugar Shack after reflecting upon his childhood, during which he was not "able to go to a dance." In a 2008 interview, Barnes said, "The Sugar Shack is a recall of a childhood experience. It was the first time my innocence met with the sins of dance. The painting transmits rhythm so the experience is re-created in the person viewing it. To show that African-Americans utilize rhythm as a way of resolving physical tension."

The Sugar Shack has been known to art critics for embodying the style of art composition known as "Black Romantic," which, according to Natalie Hopkinson of The Washington Post, is the "visual-art equivalent of the Chitlin' circuit."

When Barnes first created The Sugar Shack, he included his hometown radio station WSRC on a banner. (He incorrectly listed the frequency as 620, though it was actually 1410. Barnes confused what he used to hear WSRC's on-air personality Norfley Whitted saying "620 on your dial" when Whitted was at his former station WDNC in the early 1950s.)

After Marvin Gaye asked him for permission to use the painting as an album cover, Barnes then augmented the painting by adding references that allude to Gaye's album, including banners hanging from the ceiling to promote the album's singles.

During the Motown 25: Yesterday, Today, Forever anniversary television special on March 25, 1983, tribute was paid to The Sugar Shack with a dance interpretation of the painting. It was also during this telecast that Michael Jackson introduced his famous "moonwalk" dance.

The original piece is currently owned by Jim and Jeannine Epstein, and is on display at the North Carolina Museum of History in Raleigh. A duplicate created by Barnes was created in 1976 on display at the California African American Museum (CAAM).

Music album covers

Barnes' work appears on the following album covers:

The Sugar Shack painting on Marvin Gaye's 1976 I Want You

The Disco painting on self-titled 1978 Faith, Hope & Charity

Donald Byrd and 125th Street, NYC painting on self-titled 1979 album

Late Night DJ painting on Curtis Mayfield's 1980 Something to Believe In

The Maestro painting on The Crusaders' 1984 Ghetto Blaster

Head Over Heels painting on The Crusaders' 1986 The Good and Bad Times

In Rapture painting on B.B. King's 2000 Making Love is Good For You

Other notable art and exhibitions

1992: In the wake of the 1992 Los Angeles riots, Mayor Tom Bradley used Barnes' painting Growth Through Limits as an inspirational billboard in the inner-city. Barnes contributed $1,000 to the winner of a slogan contest among the city's junior high school students that best represented the painting.

1995: Barnes' work was included in the traveling group exhibition 20th Century Masterworks of African-American Artists II.

1998: Barnes' painting The Advocate was donated to the North Carolina Central University School of Law by a private collector. Barnes felt compelled to create the painting from his "concern with the just application of the law... the integrity of the legal process for all people, but especially those without resource or influence."

2001: While watching the tragic events of 9/11, Barnes created the painting In Remembrance. It was formally unveiled at the Seattle Art Museum. It was later acquired on behalf of the City of Philadelphia and donated to its African American Museum. A limited number of giclée prints were sold with 100% of the proceeds going to the Hero Scholarship Fund, which provides college tuition and expenses to children of Pennsylvania police and fire personnel killed in the line of duty.

2005: Three of Barnes' original paintings were exhibited at London's Whitechapel Gallery in the 2005 Back to Black: Art, Cinema & Racial Imaginary art exhibition.

2005: Kanye West commissioned Barnes to create a painting to depict his life-changing experience following his near-fatal car crash. A Life Restored measures 9 ft. x 10 ft. In the center of the painting is a large angel reaching out to a much smaller figure of West.

October 2007: Barnes' final public exhibition. The National Football League and Time Warner sponsored A Tribute to Artist and NFL Alumni Ernie Barnes in New York City.

At the time of his passing, Barnes had been working on an exhibition Liberating Humanity From Within which featured a majority of paintings he created in the last few years of his life. Plans are under way for the exhibition to travel throughout the country and abroad.

Television and movies

Barnes appeared on a 1967 episode of the game show To Tell the Truth. The panelists correctly guessed Barnes was the professional football player-turned-artist.

Barnes played Deke Coleman in the 1969 motion picture Number One, which stars Charlton Heston and Jessica Walter. Barnes played Dr. Penfield in the 1971 movie Doctors' Wives, which starred Dyan Cannon, Richard Crenna, Gene Hackman and Carroll O'Connor.

In 1971 Barnes, along with Mike Henry, created the Super Comedy Bowl, a variety show CBS television special which showcased pro athletes with celebrities such as John Wayne, Frank Gifford, Alex Karras, Joe Namath, Jack Lemmon, Lucille Ball, Carol Burnett and Tony Curtis. A second special aired in 1972.

Throughout the Good Times television series (1974–79) most of the paintings by the character J.J. are works by Ernie Barnes. However a few images, including "Black Jesus" in the first season (1974), were not painted by Barnes. The Sugar Shack made its debut on the show's fourth season (1976–77) during the opening and closing credits. In the fifth season (1977–78) The Sugar Shack was only used in the closing credits for five early episodes during that season. In the sixth season (1978–79), The Sugar Shack was only used in opening credits for the first eight episodes and in the closing credits for five early episodes during that season. In the fifth and sixth seasons (1977–79), The Sugar Shack appears in the background of the Evans family apartment. Barnes had a bit part on two episodes of Good Times: The Houseguest (February 18, 1975) and Sweet Daddy Williams (January 20, 1976).

Barnes' artwork was also used on many television series, including Columbo, The White Shadow, Dream On, The Hughleys, The Wayans Bros., Wife Swap, and Soul Food, and in the movies Drumline and Boyz n the Hood.

In 1981 Barnes played baseball catcher Josh Gibson of the Negro League in the television movie Don't Look Back: The Story of Leroy ‘Satchel' Paige with Lou Gossett Jr. playing Paige.

The 2016 film Southside with You (about Barack and Michelle Obama's first date) prominently features Barnes' work in an early scene where the two characters visit an art exhibition.

Death

Barnes passed away on Monday evening, April 27, 2009 at Cedars Sinai Hospital in Los Angeles, California from myeloid leukemia. He was cremated and his ashes were scattered in two places: at his hometown Durham, North Carolina, near the site of where his family home once stood, and at the beach in Carmel, California, one of his favorite cities.

[blackkudos]

Ernie Barnes

Ernest Eugene Barnes, Jr. (July 15, 1938 – April 27, 2009) was an African-American painter, well known for his unique style of elongation and movement. He was also a professional football player, actor and author.

Early life

Childhood

Ernest Barnes, Jr. was born during Jim Crow in "the bottom" community of Durham, North Carolina, near the Hayti District of the city. His father, Ernest E. Barnes, Sr. (1899–1966) worked as a shipping clerk for Liggett Myers Tobacco Company in Durham. His mother, Fannie Mae Geer (1905–2004) oversaw the household staff for prominent Durham attorney and local Board of Education member Frank L. Fuller, Jr.

On days when Fannie allowed "June" (Barnes' nickname to family and childhood friends) to accompany her to the Fuller home, Barnes had the opportunity to peruse the art books and listen to classical music. The young Ernest was intrigued and captivated by the works of master artists. By the time Barnes entered the first grade, he was familiar with the works of such masters as Toulouse-Lautrec, Delacroix, Velasquez, Rubens, and Michelangelo. When he entered junior high, he could appreciate, as well as decode, many of the cherished masterpieces within the walls of mainstream museums – although it would be a half dozen more years before he was allowed entrance because of his race.

A self-described chubby and unathletic child, Barnes was taunted and bullied by classmates. He continually sought refuge in his sketchbooks, hiding in the less-traveled parts of campus away from other students. One day in a quiet area, Ernest was found drawing in a notebook by the masonry teacher, Tommy Tucker, who was also the weightlifting coach and a former athlete. Tucker was intrigued with Barnes' drawings so he asked the aspiring artist about his grades and goals. Tucker shared his own experience of how bodybuilding improved his strength and outlook on life. That one encounter would begin Barnes' discipline and dedication that would permeate his life. In his senior year at Hillside High School, Barnes became the captain of the football team and state champion in the shot put.

Education

In 1956 Barnes graduated from Hillside High School with 26 athletic scholarship offers. Segregation prevented him from attending nearby Duke or the University of North Carolina. His mother promised him a car if he lived at home, so he chose North Carolina College at Durham (formerly North Carolina College for Negroes, now North Carolina Central University). He majored in art on a full athletic scholarship. His college track coach was the famed Dr. Leroy T. Walker. Barnes played the football positions of tackle and center at NCC at Durham.

At age 18, on a college art class field trip to the newly desegregated North Carolina Museum of Art in Raleigh, Barnes inquired where he could find "paintings by Negro artists." The docent responded, "Your people don't express themselves that way." Poetic justice prevailed 23 years later in 1979 when Barnes returned to the museum for a solo exhibition, hosted by North Carolina Governor James Hunt.

In 1990 Barnes was awarded an Honorary Doctorate of Fine Arts by North Carolina Central University.

In 1993 Barnes was selected to the "Black College Football 100th Year All-Time Team" by the Sheridan Broadcasting Network.

In 1999 Barnes was bestowed "The University Award", the highest honor by The University of North Carolina Board of Governors.

Professional football

Baltimore Colts (1959-60)

In December 1959 Barnes was drafted in the 10th round by the then-World Champion Baltimore Colts. He was originally selected in the 8th-round by the Washington Redskins, who renounced the pick minutes after discovering he was a Negro.

Shortly after his 22nd birthday, while at the Colts training camp, Barnes was interviewed by N.P. Clark, sportswriter for the Baltimore News-Post newspaper. Until then Barnes was always known by his birth name, Ernest Barnes. But when Clark's article appeared on July 20, 1960, it referred to him as "Ernie Barnes," which changed his name and life forever.

Titans of New York (1960)

Barnes was the last cut of the Colts' training camp. After Baltimore released Barnes, the newly formed Titans of New York immediately signed him because the team had first option on any player released within the league.

Barnes loathed being on the Titans. He said, "(New York) was a circus of ineptitude. The equipment was poor, the coaches not as knowledgeable as the ones in Baltimore. We were like a group of guys in the neighborhood who said let's pretend we're pros."

After a 27-21 loss to the Oilers on October 9, 1960 at Jeppesen Stadium, his teammate Howard Glenn died. Barnes asked for his release two days later. Glenn had sustained a broken neck in the first half of the game and it was reported that injury caused his death. However, Barnes and other teammates have long attributed it to heatstroke. In a later interview, Barnes said, "They never really said what he died of. (Coach) Sammy Baugh said he'd broken his neck in a game the Sunday before. But how could that be? How could he have hit in practice all week with a broken neck? What he died of, I think, was more like heat exhaustion. I told them I didn't want to play on a team like this."

San Diego Chargers (1960-62)

Barnes then accepted a previous offer from Coach Al Davis at the Los Angeles Chargers. Barnes joined their team at mid-season as a member of their taxi squad. The following season in 1961 the team moved to San Diego. It was there Barnes met their quarterback and future congressman Jack Kemp. The two men would share a lifelong close friendship.

During the off-seasons with the Chargers, Barnes was program director at San Diego's Southeast YMCA working with parolees from the California Youth Authority. He also worked as the Sports Editor for The Voice, a local San Diego newspaper, writing a weekly column called "A Matter of Sports."

Barnes also illustrated several articles for San Diego Magazine during the off-seasons in 1962 and 1963.

Barnes' first television interview as a professional football player and artist was in 1962 on The Regis Philbin Show on KGTV in San Diego. It was Philbin's first talk show.

Denver Broncos (1963-64)

After a series of injuries, Barnes was cut midway through his second season with the Chargers. He then signed with the Denver Broncos.

Barnes was called "Big Rembrandt" by his Denver teammates. Coincidentally, Barnes and Rembrandt share the same birthday.

Barnes was often fined by Denver Coach Jack Faulkner when caught sketching during team meetings. One of the sketches that he was fined $100 for sold years later for $1000.

During the Broncos games, Barnes would run off the field and onto the sideline to give his offensive line coach Red Miller the scraps of paper of his sketches and notes.

"During a timeout you've got nothing to do – you're not talking – you're just trying to breathe, mostly. Nothing to take out that little pencil and write down what you saw. The shape of the linemen. The body language a defensive lineman would occupy... his posture... What I see when you pull. The reaction of the defense to your movement. The awareness of the lines within the movement, the pattern within the lines, the rhythm of movement. A couple of notes to me would denote an action... an image that I could instantly recreate in my mind. Some of those notes have been made into paintings. Quite a few, really."

On Barnes' 1964 Denver Broncos Topps football card he is shown wearing jersey #55 although he never played in that number. His jersey was #62.

Canadian Football League

In 1965, after his second season with the Broncos, Barnes signed with the Saskatchewan Roughriders in Canada. In the final quarter of their last exhibition game, Barnes fractured his right foot, effectively ending his professional football career.

Retirement

Shortly after his final football game, Barnes went to the 1965 NFL owners meeting in Houston in hopes of becoming the league's official artist. There he was introduced to New York Jets owner Sonny Werblin, who was intrigued by Barnes and his art. He paid for Barnes to bring his paintings to New York City. Later they met at a gallery and unbeknownst to Barnes, three art critics were there to evaluate his paintings. They told Werblin that Barnes was "the most expressive painter of sports since George Bellows."

In what was undoubtedly one of the most unusual personnel transactions in the history of the NFL, Werblin retained Barnes as a salaried player, but positioned him in front of the canvas, rather than on the football field. Werblin told Barnes "You have more value to the country as an artist than as a football player"

Barnes' November 1966 debut solo exhibition, hosted by Werblin at the Grand Central Art Galleries in New York City was critically acclaimed and all the paintings sold.

In 1971 Barnes wrote a series of essays (illustrated with his own drawings) in the Gridiron newspaper titled "I Hate the Game I Love" (with Neil Amdur). These articles became the beginning manuscript of his autobiography, later-published in 1995 titled From Pads to Palette which chronicles his transition from professional football to his art career.

In October 2007, the National Football League and Time Warner hosted a tribute to Ernie Barnes in New York City.

Work

Barnes credits his college art instructor Ed Wilson for laying the foundation for his development as an artist. Wilson was a sculptor who instructed Barnes to paint from his own life experiences. "He made me conscious of the fact that the artist who is useful to America is one who studies his own life and records it through the medium of art, manners and customs of his own experiences."

All his life, Barnes was ambivalent about his football experience. In interviews and in personal appearances, Barnes said he hated the violence and the physical torment of the sport. However, his years as an athlete gave him unique, in-depth observations. "(Wilson) told me to pay attention to what my body felt like in movement. Within that elongation, there's a feeling. And attitude and expression. I hate to think had I not played sports what my work would look like."

Barnes' first painting sale was in 1959 for $90 to Boston Celtic Sam Jones for a painting called Slow Dance. It was subsequently lost in a fire at Jones' home.

Critics have defined Barnes' work as neo-mannerist. Based on his signature use of serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes, art critic Frank Getlein credited Barnes as the founder of the neo-Mannerism movement - because of the similarity of technique and composition prevalent during the 16th century, as practiced by such masters as Michelangelo and Raphael.

Numerous artists have been influenced by Barnes' art and unique style. Accordingly, several copyright infringement lawsuits have been settled and are currently pending.

Framing

Ernie Barnes framed his paintings with distressed wood in homage to his father. In his 1995 autobiography, artist Ernie Barnes wrote of his father: “... with so little education, he had worked so hard for us. His legacy to me was his effort, and that was plenty. He knew absolutely nothing about art.”

Weeks before Ernie Barnes’ first solo art exhibition in 1966, he was at the family home in Durham, North Carolina as his father lay in the hospital after suffering a stroke. He noticed the usually well-maintained white picketed fence had gone untended since his father’s illness. Days later, Ernest E. Barnes, Sr. died. “I placed a painting against the fence and stood away and had a look. I was startled at the marriage between the old wood fence and the painting. It was perfect. In tribute, Daddy’s fence would hug all my paintings in a prestigious New York gallery. That would have made him smile.”

Eyes closed

A consistent and distinct feature in Barnes' work is the closed eyes of his subjects. "It was in 1971 when I conceived the idea of The Beauty of the Ghetto as an exhibition. And I exposed it to some people who were black to get a reaction. And from one (person) it was very negative. And when I began to express my points of view (to this) professional man, he resisted the notion. And as a result of his comments and his attitude I began to see, observe, how blind we are to one another's humanity. Blinded by a lot of things that have, perhaps, initiated feelings in that light. We don't see into the depths of our interconnection. The gifts, the strength and potential within other human beings. We stop at color quite often. So one of the things we have to be aware of is who we are in order to have the capacity to like others. But when you cannot visualize the offerings of another human being you're obviously not looking at the human being with open eyes." "We look upon each other and decide immediately: This person is black, so he must be... This person lives in poverty, so he must be..."

Sports art

The Los Angeles Olympic Organizing Committee named Barnes "Sports Artist of the 1984 Olympic Games". LAOOC President Peter V. Ueberroth said Barnes and his art "captured the essence of the Olympics" and "portray the city's ethnic diversity, the power and emotion of sports competition, the singleness of purpose and hopes that go into the making of athletes the world over." Barnes was commissioned to create five Olympic-themed paintings and serve as an official Olympic spokesman to encourage inner city youth.

In 1985 Barnes was named the first "Sports Artist of the Year" by the United States Sports Academy.

In 1987 Barnes created Fastbreak, a commissioned painting of the World Champion Los Angeles Lakers basketball team that included Magic Johnson, Kareem Abdul-Jabbar, James Worthy, Kurt Rambis and Michael Cooper.

Carolina Panthers football team owners Rosalind and Jerry Richardson (Barnes' former Colts teammate) commissioned Barnes to create the large painting Victory in Overtime (approximately 7 ft. x 14 ft.). It was unveiled before the team's 1996 inaugural season and hangs permanently in the owner's suite at the stadium.

To commemorate their 50th anniversary in 1996, the National Basketball Association commissioned Barnes to create a painting with the theme, "Where we were, where we are, and where we are going." The painting, The Dream Unfolds hangs in the Naismith Memorial Basketball Hall of Fame in Springfield, Massachusetts. A limited edition of lithographs were made, with the first 50 prints going to each of the NBA's 50th Anniversary All-Time Team.

In 2004 Barnes was named "America's Best Painter of Sports" by the American Sport Art Museum & Archives.

Other notable sports commissions include paintings for the New Orleans Saints, Oakland Raiders and Boston Patriots football team owners.

"The Bench" painting

Shortly after Barnes was drafted by the Baltimore Colts in 1959, Barnes was invited to see their Colts' NFL Championship Game vs. the New York Giants at Memorial Stadium in Maryland. The Colts won 31-16 and Barnes was filled with layers of emotion after watching the game from behind the Colts' bench. He had just signed his football contract and met his new teammates Johnny Unitas, Jim Parker, Lenny Moore, Art Donovan, Gino Marchetti, Alan Ameche and "Big Daddy" Lipscomb.

Barnes later wrote that after he returned home, he "placed a stretched canvas on the easel. Without making any preliminary sketches, I started painting in quick, direct movements hoping to capture the vision in my mind before it evaporated." He created The Bench in less than an hour. Throughout his life, The Bench remained in Barnes' possession, even taking it with him to all his football training camps and hiding it under his bed. It would be the only painting Barnes would never sell, despite many substantial offers, including a $25,000 bid at his first show in 1966.

On June 18, 2014 The Bench was formally presented to the Pro Football Hall of Fame in Canton, Ohio for their permanent collection by his wife Bernie Barnes.

"The Sugar Shack" painting

Barnes created the painting The Sugar Shack in the 1970s. It gained international exposure when it was used on the Good Times television series and on the 1976 Marvin Gaye album I Want You.

According to Barnes, he created the original version of The Sugar Shack after reflecting upon his childhood, during which he was not "able to go to a dance." In a 2008 interview, Barnes said, "The Sugar Shack is a recall of a childhood experience. It was the first time my innocence met with the sins of dance. The painting transmits rhythm so the experience is re-created in the person viewing it. To show that African-Americans utilize rhythm as a way of resolving physical tension." The Sugar Shack has been known to art critics for embodying the style of art composition known as "Black Romantic," which, according to Natalie Hopkinson of The Washington Post, is the "visual-art equivalent of the Chitlin' circuit." When Barnes first created The Sugar Shack, he included his hometown radio station WSRC (Durham, NC) on a banner. He incorrectly listed the frequency at 620. It was actually 1410. Barnes confused what he used to hear WSRC's on-air personality Norfley Whitted saying "620 on your dial" when Whitted was at his former station WDNC in the early 1950s.

After Marvin Gaye asked him for permission to use the painting as an album cover, Barnes then augmented the painting by adding references that allude to Gaye's album, including banners hanging from the ceiling to promote the album's singles.

During the Motown 25: Yesterday, Today, Forever anniversary television special on March 25, 1983, tribute was paid to The Sugar Shack with a dance interpretation of the painting.

The original piece is currently owned by actor Eddie Murphy.

Music album covers

Barnes' work appears on the following album covers:

The Sugar Shack on Marvin Gaye's 1976 I Want You

The Disco on self-titled 1978 Faith, Hope & Charity

Donald Byrd and 125th Street, NYC on self-titled 1979 album

Late Night DJ on Curtis Mayfield's 1980 Something to Believe In

The Maestro on The Crusaders' 1984 Ghetto Blaster

Head Over Heels on The Crusaders' 1986 The Good and Bad Times

In Rapture on B.B. King's 2000 Making Love is Good For You

Other notable art and exhibitions

In response to the 1960s "Black is beautiful" cultural movement and James Brown's 1968 Say it loud: I'm Black and I'm Proud song, Barnes created The Beauty of the Ghetto exhibition of 35 paintings that toured major American cities from 1972 to 1979 hosted by dignitaries, professional athletes and celebrities.

Of his The Beauty of the Ghetto exhibition, Barnes said, "I am providing a pictorial background for an understanding into the aesthetics of black America. It is not a plea to people to continue to live there (in the ghetto) but for those who feel trapped, it is...a challenge of how beautiful life can be." When The Beauty of the Ghetto was on view in 1974 at the Museum of African Art in Washington, DC, Rep. John Conyers stressed the important positive message of the exhibit in the Congressional Record.

In the wake of the 1992 Los Angeles riots, Mayor Tom Bradley used Barnes' painting Growth Through Limits as an inspirational billboard in the inner-city. Barnes contributed $1000 to the winner of a slogan contest among the city's junior high school students that best represented the painting.

Barnes' work was included in the 1995 traveling group exhibition 20th Century Masterworks of African-American Artists II.

Barnes' painting The Advocate was donated to the North Carolina Central University School of Law in 1998 by a private collector. Barnes felt compelled to create the painting from his "concern with the just application of the law... the integrity of the legal process for all people, but especially those without resource or influence."

While watching the tragic events of 9/11, Barnes created the painting In Remembrance. It was formally unveiled at the Seattle Art Museum. It was later acquired on behalf of the City of Philadelphia and donated to its African American Museum. A limited number of giclée prints were sold with 100% of the proceeds going to the Hero Scholarship Fund, which provides college tuition and expenses to children of Pennsylvania police and fire personnel killed in the line of duty.

Three of Barnes' original paintings were exhibited at the London, England Whitechapel Gallery in the 2005 Back to Black: Art, Cinema & Racial Imaginary art exhibition.

In 2005 rapper producer Kanye West commissioned Barnes to create a painting to depict his life-changing experience following his near-fatal car crash. A Life Restored measures 9 ft. x 10 ft. and hangs on West's dining room ceiling. In the center of the painting is a large angel reaching out to a much smaller figure of West. It was inaccurately reported in several media outlets that the image of the angel in the painting is of West.

Barnes' final public exhibition was in October 2007 when the NFL and Time Warner sponsored A Tribute to Artist and NFL Alumni Ernie Barnes in New York City. It was hosted by Donna Brazile, Susan L. Taylor, Brig Owens and his former teammate, the Hon. Jack Kemp (who died five days after Barnes in 2009).

At the time of his death, Barnes had been working on an exhibition titled Liberating Humanity From Within which featured a majority of paintings he created in the last few years of his life. Plans will continue. The exhibition will travel throughout the country and abroad.

Television and movies

Barnes appeared on a 1967 episode of the game show To Tell The Truth The panelists correctly guessed Barnes was the professional football player-turned-artist.

Barnes played Deke Coleman in the 1969 motion picture Number One with Charlton Heston and Jessica Walter.

In 1971 Barnes, along with Mike Henry, created the Super Comedy Bowl, a CBS television variety special which showcased pro athletes with celebrities such as John Wayne, Frank Gifford, Alex Karras, Joe Namath, Jack Lemmon, Lucille Ball, Carol Burnett and Tony Curtis. A second special aired in 1972.

Barnes played Dr. Penfield in the 1971 movie Doctors' Wives, which starred Dyan Cannon, Richard Crenna, Gene Hackman and Carroll O'Connor.

Throughout the Good Times television series (1974–79) most of the paintings by the character J.J. are works by Ernie Barnes. However a few images, including "Black Jesus" in the first season (1974), were not painted by Barnes. The Sugar Shack made its debut on the show's fourth season (1976–77) during the opening and closing credits. In the fifth season (1977–78) The Sugar Shack was only used in the closing credits for five early episodes during that season. In the sixth season (1978–79), The Sugar Shack was only used in opening credits for the first eight episodes and in the closing credits for five early episodes during that season. In the fifth and sixth seasons (1977–79), The Sugar Shack appears in the background of the Evans family apartment.

Barnes had a bit part on two episodes of Good Times: The Houseguest (February 18, 1975) and Sweet Daddy Williams (January 20, 1976).

The artwork of Ernie Barnes was also used on television shows Columbo, The White Shadow, Dream On, The Hughleys, The Wayans Bros, Wife Swap, Soul Food and the movies Drumline and Boyz n The Hood.

In 1981 Barnes played the famed baseball catcher Josh Gibson of the Negro league in the television movie Don't Look Back: The Story of Leroy ‘Satchel' Paige with Lou Gossett, Jr., who played Paige.

The 2016 film Southside With You about Barack and Michelle Obama's first date features the artwork of Ernie Barnes.

Personal

In addition to his parents, Barnes was preceded in death by his half-brother Benjamin B. Rogers, Jr. (1920–1970). His brother James (b. 1942) resides in Durham, North Carolina. Barnes has five children: Deidre (b. 1957) and Michael (b. 1961) with first wife Andrea Burnett (1957–1965); and Sean (b. 1965), Erin (b. 1969) and Paige (b. 1972) with second wife Janet Thaleen Norton (1965–1983). He was also married to Bernadine "Bernie" Gradney (1984 - to death).

Barnes died on April 27, 2009 at Cedars Sinai Hospital in Los Angeles, California from blood cancer. He was cremated and his ashes were scattered in Durham, North Carolina near the site of where his family home once stood, and at the beach in Carmel, California, one of his favorite cities.

Quotations

"An artist paints his own reality."

"The artist uses creative visualization and the athlete uses the same thing... It's the muscle of the mind, that's the main muscle."

"I am bound by the strongest ties with the organic life of all people. And being an artist has created in me the desire to continually affirm beauty."

"The five years I lived in (the Fairfax district) a Los Angeles Jewish community led me to learn of their unyielding spiritual strength and internal sense of grandeur. I met people who had survived a hard school of struggle."

"My early paintings have all the rawness and passion of the (football) game."

"I was angry. I wanted to show and tell people what I had seen and felt. I wanted to show the dehumanization that is professional football. My only expression is through art. I painted until I had exhausted the hate. I had so many ideas that I couldn't put a canvas up quick enough."

"One day on the playing field, I looked up and the sun was breaking through the clouds, hitting the unmuddied areas on the uniforms, and I said, ‘that's beautiful!' I knew then that it was all over being a player. I was more interested in art. So I traded my cleats for canvas, my bruises for brushes, and put all the violence and power I had felt on the field into my paintings."

"Throughout my five seasons in the NFL, I remained at the deepest level of my being...an artist."

Wikipedia