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These never-before-seen photos of Björk at Chateau Marmont are giving otherworldly glee

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These never-before-seen photos of Björk at Chateau Marmont are giving otherworldly glee

Mike had me cornered. He’d graduated ages ago, but his tastes hadn’t. He still went to high school house parties to drool over girls who read Sassy and got their braces tightened every four weeks.

“Hey,” he said to my padded bra.

“Hey,” I grumbled back.

Adulthood had given Mike a power he was eager to exploit; he could buy alcohol legally. Since my underage friends and I relied on people like Mike to supply us with Boone’s Strawberry Hill, we used caution around them. Mocking these losers could endanger our access to saccharine wines. It also could endanger us.

Mike gestured at my face with his half-empty bottle of Zima and asked, “Anyone ever told you you look like Buh-Jork?”

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“You mean … Björk?”

Mike ignored my correction, instead asking, “What are you? You’re so … exotic.” He rambled on about Buh-jork’s “kind-of-Asian-hotness” until friends came to my rescue.

I confess this embarrassing Gen X memory as a gesture of solidarity. Many multiracial ladies of a certain age were similarly fetishized by their local Mikes, and for those of us perceived as embodying a certain type of racial ambiguity, being flirtatiously likened to Buh-jork was a collective rite of passage in the 1990s. Gross guys stereotyped us, casting us as orientalized, manic pixie dream girls.

When One Little Indian and Elektra Entertainment released Björk Guðmundsdóttir’s international debut solo album in July 1993, the world went bonkers for the record. “Debut” introduced the 28-year-old Icelandic musician to millions of fans, but some of us already admired her; that’s why we knew how not to butcher her name. We were kids who listened to the Sugarcubes, the alternative rock band for which Björk sung and pounded the keyboard. Released in 1992, “Stick Around for Joy” became the Sugarcubes’ third and final album, and it had given me “Hit,” a melodramatic song perfect for channeling my sophomoric woes. I was in awe of the way Björk growled the exasperated lyric, “This wasn’t supposed to happen,” and I adopted those five words as my own, growling the verse when I got Fs on French quizzes or popped ripe zits too close to the bathroom mirror.

The two-hour shoot at the Chateau Marmont happened the day before Spike Jonze and Björk would begin working on the iconic video for the single “It’s Oh So Quiet.”

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(Spike Jonze)

Among those smitten with “Debut” was Spike Jonze, an instrumental figure in the history of California skateboard culture. Jonze’s passion for documenting street skating led him to filmmaking, and he became a leading music video director whose easily identifiable style, one that married the indie with the chic, shaped the visual aesthetics of the ’90s and early aughts. In 1995, Detour Magazine sent Jonze to the Chateau Marmont to photograph Björk. Five years prior, the storied French Gothic castle perched high on Sunset Boulevard had changed hands, coming under new ownership. Hotelier André Balazs subjected his acquisition to a facelift that erased much of its gritty and dilapidated charm. Tattered curtains, matted carpets and missing shower heads were replaced. A gym was installed in the attic. After witnessing its restoration, former It girl Eve Babitz, a Chateau regular, lamented, “I couldn’t imagine wanting to commit suicide here anymore.”

The singer aggressively winks at the camera, reminiscent of a pirate. We peek at Björk, but the voyeurism is mutual.

(Spike Jonze)

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The two-hour Detour shoot happened the day before Jonze and Björk would begin working on the iconic video for the single “It’s Oh So Quiet,” and the mountain of photographs that they created together revives some of the Chateau’s former mystique. Björk and Jonze made use of the hotel’s interiors and pool, and the results are imbued with a sense of otherworldly glee that tells me the pair probably had a damn good time making art together. The results also present Björk’s beauty and intelligence as hers, not ours to devour. This self-possession is apparent in one of the six photographs published as part of Detour’s 1995 music issue. In it, the singer aggressively winks at the camera, reminiscent of a pirate. She withholds much of her body, especially skin, from the lens. Her pose forces the viewer’s eyes to her face, drawing attention to her eye. We peek at Björk, but the voyeurism is mutual.

Decades after the Chateau shoot, the fashion designer and creative director Humberto Leon discovered a trove of outtakes while helping Jonze to organize his archive. The two had met in 2004, when Jason Schwartzman introduced Jonze to Leon at a Christmas party, and the pair quickly developed a close bond, becoming one another’s artistic sounding boards. The pictures struck a nostalgic chord in Leon, a longing for the subcultural days of yore, and after proposing to Jonze that he exhibit at Arroz and Fun, Leon’s restaurant and gallery space in Lincoln Heights, the two decided to display 25 of Jonze’s never-before-seen photographs at the space (the show opens Feb. 15 and will remain on view through May). For die-hard fans unable to make it to Lincoln Heights, Jonze also is releasing “The Day I Met Björk,” a free downloadable zine through WeTransfer. A limited supply of physical copies will be sold at the gallery.

The image of Björk holding a white coffee mug to her lips summons the mornings after teen slumber parties.

(Spike Jonze)

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Often, when a male photographer shoots an ingenue in a hotel room, she winds up on the bed in a come-hither pose not found in the wild. Think Britney Spears’ first Rolling Stone cover shot by David LaChapelle, the one where the teen is wearing lingerie, holding a phone to her ear and cradling a Teletubby. It is pure Lolita. Instead of invoking such motifs, Jonze’s bedroom shots of Björk are goofy girl slumber party, the kind my friends and I had. Wrapped in white sheets, the singer transforms into a joyful poltergeist hopping on the bed, reminding me of the time that I jumped so hard on my bed, it broke. This incurred my father’s wrath but here’s the thing: Sometimes pissing off your dad is worth it. Björk’s other bedroom photo, the one where she wears an orange button-down blouse and sits at the foot of the bed, holding a white coffee cup to her lips, reminds me of the morning after our teen slumber parties. Recovery from our revelry required that we sip Alka-Seltzer and wolf down menudo.

If we run our eyes up and down the contact sheets from the shoot, our minds can construct a moving picture of Björk as artist and muse.

(Spike Jonze)

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If we run our eyes up and down the contact sheets from the shoot, our minds can construct a moving picture of Björk as artist and muse. She steps through doorways, down hallways and toward the light. Engulfing her face, the brightness creates a white eclipse. While this series of photographs taken of Björk in orange relies on preternatural tropes, those made in the bathroom take it further, pushing into the realm of the supernatural, of time travel. In a pose reminiscent of the fight scenes from “The Matrix” franchise, Björk appears in suspended animation, her back arched, head frozen above the faucet, arms dangling at her sides. She stares up, at no one. The pose is vulnerable and just ethereal enough. It raises the question that we may, or may not be, living in the same dimension as Björk.

My favorite portrait created at the Chateau was shot underwater. Once again, Björk appears suspended, this time in rich blue. Her brown mane swirls and snakes, reaching for the surface. She is backlit by the L.A. sun, whose rays create an aura above her head. Her green dress summons the illusion that Björk is a scaly creature, one who breathes through gills and uses a tail to propel herself through lakes, rivers and oceans. She might also use that tail in self-defense. The photo recalls another classic ’90s image, Nirvana’s “Nevermind” album cover with the aquatic baby. While Nirvana’s baby spreads both arms wide, Björk uses her right arm to wave at the camera.

(Spike Jonze)

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She seems happiest as a mermaid, and I can’t help but hope that her joy comes from her affinity for the sirens, those ancient Greek tritonesses who lured sailors with their magical voices, only to inspire these mesmerized seamen to sacrifice themselves against seaside cliffs. Björk is no Disney mermaid. Instead, I imagine that as a mercreature, she has more in common with Michi-Cihualli, the fish woman who dwells in Chapala, the Mexican freshwater lake where I spent some of my childhood. According to the Coca people, Michi-Cihualli is the daughter of Tlaloc, the rain god. When winds blow hard across the lake and storms brew over its waters, it is said that Michi-Cihualli is angry and must be pacified. Soothing her requires blood, and my imagination can easily conjure Björk accepting blood sacrifice, gnawing on the rib of an annoying sailor who dared to tell her that she looked exotic.

In 1996, a video of Björk attacking reporter Julie Kaufman at the Bangkok airport surfaced. The scene dispelled the popular image of the singer as a mindless, erotic elf and cemented her status as someone not to mess with, someone willing to draw a little blood. An artist in blissful control of her trademark strangeness, Björk’s way of being a weird woman in the music world meant a lot to aspiring weirdos like me. Instead of the typical hypersexualized vamp, Björk offered girls like me a different template, and the more bizarre she revealed herself to be, the more our loyalty to her deepened. Images of the singer were part of the collage that covered my bedroom walls when I was a teen, and I hope that the newly published pictures of Björk find their way into the right kid’s hands. There are so many girls who need a ferocious mermaid with a beautiful voice to sing them into adulthood.

Björk is an artist in blissful control of her trademark strangeness.

(Spike Jonze)

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Myriam Gurba is the author of “Mean,” a ghostly memoir about survivorship that was selected as a New York Times Editors’ Choice. Her latest book, “Creep: Accusations and Confessions,” was published by Avid Reader Press.

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Retired, they moved from 6 bedrooms to a tiny L.A. ADU built in 3.5 months

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Retired, they moved from 6 bedrooms to a tiny L.A. ADU built in 3.5 months

Ever wondered how long it would take to build an accessory dwelling unit, or ADU, in your backyard?

In the case of Alvaro “Al” and Nenette Alcazar, a retired couple, who downsized from a six-bedroom home in New Orleans to a one-bedroom ADU in Los Angeles, it took just 3½ months.

“We went on vacation to the Philippines in November, right as they were getting started on construction,” Al says of the ADU his son Jay Alcaraz and his partner Andy Campbell added behind their home in Harbor Gateway. “When we returned in March of this year, the house was ready for us.”

The Alcazars were surprised by the rapid completion of their new 570-square-foot modular home by Gardena-based Cover. By the time construction was finished, they hadn’t yet listed their New Orleans home, where they lived for 54 years while raising their two sons.

Andy Campbell, seated left, and his partner Jay Alcazar’s home is reflected in the windows of the ADU where Alcazar’s parents Al and Nenette Alcazar, standing, now reside.

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Jay Alcazar and Andy Campbell's backyard in Harbor Gateway before they added an ADU.

Jay Alcazar and Andy Campbell’s backyard in Harbor Gateway before they added an ADU.

(Jay Alcazar)

Alexis Rivas, co-founder and CEO of Cover, was also surprised by how quickly the ADU was permitted, taking just 45 days. “The total time from permit submittal to certificate of occupancy was 104 days,” he says, crediting the city’s Standard Plan and the ADU’s integrated panelized system for making it the fastest Clover has ever permitted.

For Al, a longtime religious studies professor at Loyola University New Orleans and community organizer, the construction process was more than just demolition and site prep. Seeing the Cover workers collaborate on their home reminded him of “bayanihan,” a Filipino core value emphasizing community unity and collective action.

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“Both of my parents were public school teachers,” says Al, who was exiled from the Philippines in 1972. “When they moved to a village where there were no schools, the parents were so happy their children wouldn’t have to walk to another village to go to school that they built them a home.”

A living room of an ADU with a yellow chair and orange sofa
A dining room with a birch dining table and red area rug

“It’s only one bedroom but we love it,” says Nenette Alcazar. “It’s the right size for two people.”

Like his childhood home in the village of Cag-abaca, Al says his and Nenette’s ADU “felt like a community built it somewhere and carried it into the garden for us to live in.” Only in this instance, the home was not a Nipa hut made of bamboo but a home made of steel panels manufactured in a factory in Gardena and installed on-site.

Jay Alcaraz, 40, and Campbell, 43, had been renting a house in Long Beach for three years when they started looking for a home to buy in 2022. Initially, they had hoped to stay in Long Beach, but when they realized they couldn’t afford it, they broadened their search to include Harbor Gateway. “It was equidistant to my job as a professor of critical studies at USC, and Jay’s job as a senior product manager at Stamps.com near LAX,” Campbell says.

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When they eventually purchased a three-bedroom Midcentury home that needed some work, they were delighted to find themselves in a neighborhood filled with multigenerational households within walking distance of Asian supermarkets and restaurants.

A wood-clad ADU and deck in a garden
Orange tree
Purple sage

The ADU does not overwhelm the backyard. “It looks like a house in a garden,” says Al Alcazar.

“We can walk to everything,” says Jay. “The post office. The deli. The grocery store. We love Asian food, and can eat at a different Asian restaurant every day.”

Adds Campbell: “We got the same thing we had in Long Beach here, plus space for an ADU.”

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At a time when multigenerational living is growing among older men and women in the United States, according to the Pew Research Center, it’s not surprising that the couple began considering an ADU for Jay’s parents soon after purchasing their home, knowing that Al and Nenette, who no longer drives, would feel comfortable in the neighborhood.

They started by reviewing ADUs that the city has pre-approved for construction as part of the ADU Standard Plan Program on the city’s Building and Safety Department website. The initiative, organized by former L.A. Mayor Eric Garcetti’s office in collaboration with Building and Safety in 2021, was designed to simplify the lengthy permitting process and help create more housing.

A white bathroom.
A hallway leads to a bedroom.

The 570-square-foot house has a single bedroom and bathroom.

Jay and Al Alcazar have coffee in the kitchen of their ADU.

Jay and Al Alcazar have coffee in the kitchen of the ADU.

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They reached out to several potential architects and secured a line of credit for $300,000. They decided to go with Cover after touring its facility and one of its completed ADUs. “We liked that they were local and their facility was five minutes away from us,” Campbell says.

The couple originally envisioned removing their backyard pergola and lawn and adding an L-shaped ADU. But after consulting with Rivas, they decided on a rectangular unit with large-format glass sliders and warm wood cladding to preserve the yard.

The configuration was the right choice, as the green space between the two homes, which includes a deck and drought-tolerant landscaping, serves as a social hub for both couples, who enjoy grilling, sharing meals at the outdoor dining table and gardening. Just a few weeks ago, the family celebrated Al’s 77th birthday in the garden along with their extended family.

Nenette, a self-described “green thumb,” is delighted by the California garden’s bounty, including oranges, lemons, guava trees and camellias. “I can see the palm trees moving back and forth and the hummingbirds in the morning,” she says.

A family of four visits in an open dining room and kitchen.

“They’re a lot of fun,” Jay Alcazar says of his parents. “They are great dinner companions.”

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Although some young couples might hesitate to live close to their parents and in-laws, Jay and Campbell see their ADU as a convenient way to stay close and support Jay’s parents as they age in place.

Besides, Jay says, they’re a lot of fun. “They are great dinner companions,” he says.

Campbell, who enjoys having coffee on the outdoor patio with Al, agrees. “When I met them for the first time 12 years ago, they had a group over for dinner and hosted a karaoke party until 3 a.m.,” he said. “I was like, ‘Is this a regular thing?’”

A hand-carved teak bed
A family photo and accessories on a bedside table

A teak bed from the Philippines and family mementos help to make the new ADU feel like home.

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Unlike the Alcazars’ spacious 1966 home in New Orleans, their new ADU’s interiors are modern and simple, with white oak floors and cabinets and Bosch appliances, including a stackable washer and dryer. Despite downsizing a lifetime of belongings, Al and Nenette were able to keep a few things that help make the ADU feel like home. In the living room, mother of pearl lamps and wood-carved side tables serve as a reminder of their old house. In their bedroom, a hand-carved teak bed from the Philippines, still showing signs of water damage from Hurricane Katrina, was built by artisans in Nenette’s family.

“Madonna and Jack Nicholson both ordered this bed,” Nenette says proudly.

Wood cladding

The couple chose a thermally processed wood cladding for its warmth. “It will develop a silver hue over time,” says Alexis Rivas of Cover. “It’s zero maintenance.”

But one thing didn’t work out in their move West. When they realized their sofa would take up too much room in the 8-foot portable storage pod they rented in New Orleans, they decided to purchase an IKEA sleeper sofa in L.A. It’s now in the mix along with their personal artifacts and family photos that further add memories to the interiors, including a reproduction of the Last Supper, a common tradition in many Filipino homes symbolizing the importance of coming together to share meals. With limited storage, the families share the two-car garage, where Al stores his tools.

“It’s only one bedroom, but we love it,” says Nenette, 79, of the ADU, which cost $380,000. “It’s just the right size for two people.”

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The ADU feels private, both couples say, thanks to the 9-foot-long custom curtains they ordered online from Two Pages Curtains. “When the curtains are open, we know they are awake, and when their curtains are down, we know to leave them alone,” Jay says, laughing at their ritual.

In terms of aging in place, the ADU can accommodate a wheelchair or walker if necessary, and Rivas says a custom wheelchair ramp can be added later if necessary.

Now, if only Jay could mount the flat-screen television on the wall, Al says, teasing his son. It’s hard to escape dad jokes when he’s living in your backyard — and that’s the point.

“It’s really nice having them here,” Andy says.

Jay Alcazar and Andy Campbell pose at a dining room table.
Al and Nenette Alcazar in their living room.

Jay Alcazar and Andy Campbell enjoy having Al and Nenette Alcazar close. “They feel like neighbors,” Jay says.

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After losing his family and home in the Philippines when Ferdinand Marcos declared martial law in the country, Al, who once studied to be a priest, says he’s deeply moved to be the recipient of the bayanihan spirit once again.

“I was tortured in the Philippines, and it didn’t break me,” he says. “So having a home built by a friendly community really points to a shorter but more spiritual meaning of bayanihan, which is, ‘when a group of friends,’ as my grandma Marta used to say, ‘turns your station of the cross into a garden with a rose.’ Now, we have Eden here in my son’s backyard.”

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Her 1951 walkout helped end school segregation. Now her statue is in the U.S. Capitol

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Her 1951 walkout helped end school segregation. Now her statue is in the U.S. Capitol

A model of the statue of Barbara Rose Johns pictured in 2023, two years before the real thing was unveiled at the U.S. Capitol.

Amy Davis/The Baltimore Sun/ZUMA Press Wire via Reuters


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Amy Davis/The Baltimore Sun/ZUMA Press Wire via Reuters

In 1951, a Black teenager led a walkout of her segregated Virginia high school. On Tuesday, her statue replaced that of a Confederate general in the U.S. Capitol.

Barbara Rose Johns was 16 when she mobilized hundreds of students to walk out of Farmville’s Robert Russa Moton High School to protest its overcrowded conditions and inferior facilities compared to those of the town’s white high school.

That fight was taken up by the NAACP and eventually became one of the five cases that the U.S. Supreme Court reviewed in Brown v. Board of Education, whose landmark 1954 ruling declared school segregation unconstitutional.

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“Before the sit-ins in Greensboro, before the Montgomery bus boycott, there was the student strike here in 1951, led by Barbara Johns,” Cameron Patterson told NPR in 2020, when he led the Robert Russa Moton Museum, located on the former school grounds.

Johns’ bronze statue is the latest addition to Emancipation Hall, a gathering place in the U.S. Capitol Visitor Center that houses many of the 100 statues representing each state.

Every state legislature gets to honor two notable individuals from its history with statues in the Capitol. For over a century, Virginia was represented by George Washington and, until a few years ago, Confederate Gen. Robert E. Lee.

Lee’s statue was hoisted out of the Capitol — at the request of then-Virginia Gov. Ralph Northam, a Democrat — in December 2020, the year that a nationwide racial reckoning spurred the removal of over 100 Confederate symbols across the U.S.

The same month, Virginia’s Commission on Historical Statues in the United States Capitol voted unanimously to select a statue of Johns to replace it. Johns, who died in 1991, was chosen from a list of 100 names and five finalists, including Pocahontas and Maggie Lena Walker, the first Black woman to serve as president of a U.S. bank.

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Exactly five years and a multi-step approval process later, the 11-foot statue — created by Maryland artist Steven Weitzman — has finally moved in. It shows a teenage Johns standing at a podium, raising a book overhead mid-rallying cry.

Its pedestal is engraved with the words: “Are we going to just accept these conditions, or are we going to do something about it?”

Johns is credited with helping end school segregation

Johns was born in New York City in March 1935, and moved to Virginia’s Prince Edward County during World War II to live on her grandmother’s — and later, father’s — farm.

According to the Moton Museum, Johns — the niece of civil rights pioneer the Rev. Vernon Johns — grew increasingly frustrated by the lack of resources at her school. Classrooms were located in free-standing tar-paper shacks that lacked proper plumbing, with no science laboratories, cafeteria or gymnasium at all.

She later wrote in an unpublished memoir that when she finally took her concerns to a teacher, they responded, “Why don’t you do something about it?” She felt dismissed at first, but gave the idea more thought and decided to unite the student council members to coordinate a strike.

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“We would make signs and I would give a speech stating our dissatisfaction and we would march out [of] the school and people would hear us and see us and understand our difficulty and would sympathize with our plight and would grant us our new school building and our teachers would be proud and the students would learn more and it would be grand,” Johns wrote, according to the museum.

On April 23, 1951, Johns gathered all 450 students in the auditorium and convinced them to walk out, to protest their school’s conditions and campaign for a new building. The strike lasted roughly two weeks and caught the attention of the NAACP.

NAACP lawyers Spottswood Robinson and Oliver Hill filed a lawsuit (Davis et al. v. County School Board of Prince Edward County, Virginia) in federal court, challenging the constitutionality of segregated education in the county’s schools.

The court ultimately sided with the county, but did order that its Black schools be made physically equal to white schools. A new Black Moton High School — known as “Moton 2” — was built in 1953 to avoid integration.

The following year, the Supreme Court declared school segregation unconstitutional in Brown v. Board of Ed, based on the Farmville case and four others from across the country. But it took years for the ruling to actually be enforced throughout the U.S., especially in Virginia, which enacted a set of anti-integration laws that came to be known as “Massive Resistance.”

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Prince Edward County schools were officially integrated in 1964, after being closed for five years in an attempt to avoid it. Moton 2 was reopened as the Prince Edward County High School and remained in use until 1993.

As for Johns, she was sent after the walkout to live with relatives and finish her schooling in Alabama due to safety concerns. She attended Spelman College and graduated from Drexel University before working as a librarian for Philadelphia Public Schools. She married the Rev. William Powell, with whom she raised five children before her death at age 56.

Johns has been recognized in Virginia over the years. Her story is now a required part of lessons in the public school curricula. In 2017, the Virginia Attorney General’s Offices were renamed in her honor. And the following year, the Virginia General Assembly designated April 23 — the anniversary of the walkout — as Barbara Johns Day statewide.

Johns’ sister, Joan Johns Cobbs, told member station VPM last year that their family is honored by this newest tribute in the nation’s capital.

“I think Virginia is trying to correct some of its inequities,” Johns Cobbs said. “I think the fact that they chose her was one way they are trying to rectify what happened in the past.”

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Bucking a trend in 2025

Plans for Johns’ statue have been in motion since well before President Trump’s second term, which has been marked by a rollback in diversity initiatives and the reinstallment of Confederate monuments.

One of Trump’s executive orders along those lines, aimed at “restoring truth and sanity to American history,” calls on the secretary of the Interior to restore public monuments and markers on federal lands that have been changed or removed since 2020.

In October, a statue of Confederate Gen. Albert Pike was reinstalled in a D.C. park, five years after protesters tore it down and set it ablaze.

As is customary, state leaders and members of Congress will be in attendance at Tuesday’s statue unveiling. Among them will be House Speaker Mike Johnson as well as Virginia Gov. Glenn Youngkin, a Republican who campaigned in part against critical race theory and has eliminated DEI initiatives in office.

Sen. Tim Kaine, D-Va., who also plans to attend the ceremony, issued a statement beforehand praising Johns’ “incredible bravery and leadership she displayed when she walked out of Moton High School.”

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“I’m thrilled that millions of visitors to the U.S. Capitol, including many young people, will now walk by her statue and learn about her story,” he added. “May she continue to inspire generations to stand up for equality and justice.”

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Noah Schnapp Says There Were Tears on ‘Stranger Things’ Set After Filming Finale

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Noah Schnapp Says There Were Tears on ‘Stranger Things’ Set After Filming Finale

‘Stranger Things’ Noah Schnapp
Tears Flowed After Filming Wrapped …
Finale Is Super Sad!!!

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