In a remarkable display of unity and compassion, Blizzard Entertainment® and the gaming community of World of Warcraft® have come together to raise over $2 million for CureDuchenne, a nonprofit dedicated to finding a cure for Duchenne muscular dystrophy (DMD). Inspired by the poignant documentary “The Remarkable Life of Ibelin,” the initiative has touched hearts and changed lives, honoring the legacy of the late Mats Steen, a devoted player known as Ibelin.

Honoring Mats Steen’s Legacy

Mats Steen, a young man from Norway, was diagnosed with Duchenne muscular dystrophy at a young age, a condition that steals muscle strength, leading to severe physical limitations and, tragically, premature death. Mats lost his life at just 25, but his journey didn’t end there; his story is one of connection, joy, and community. Through World of Warcraft, Mats discovered a vibrant world filled with friendships and adventures that transcended his physical challenges.

His family, upon his passing, uncovered the wealth of community and connection that the game provided him—a life filled with support and laughter that they had never fully appreciated. In remembrance of Mats, players worldwide adopted a limited-edition in-game pet, a fox named Reven, with all proceeds supporting the critical work of CureDuchenne.

The Impact of the Fundraising Campaign

The response from the gaming community has been nothing short of extraordinary. The opportunity to adopt Reven provided players a chance to honor Mats’ legacy while contributing to a noble cause. The campaign not only garnered significant financial support—$2 million to date—but also raised awareness about Duchenne muscular dystrophy, a condition that affects around 300,000 individuals globally.

According to Debra Miller, Founder and CEO of CureDuchenne, this partnership has been a breakthrough. “Not only has it raised critical funds for research,” she said, “but it has also generated awareness for Duchenne muscular dystrophy. The World of Warcraft community has demonstrated that gaming can be a powerful force for good.”

A Community United

The success of this fundraising initiative emphasizes the strength of the community and the impact that gaming can have in addressing real-world issues. The World of Warcraft community rallied together, showcasing the power of connection and shared purpose. The campaign reached across borders and time zones, allowing players from diverse backgrounds to unite in support of a common cause.

Holly Longdale, Executive Producer of World of Warcraft, expressed gratitude for the community’s generosity. “Your kindness helps enable the incredible work of CureDuchenne and honors the deeply impactful life of Mats Steen. We invite everyone to continue supporting CureDuchenne and to carry on Ibelin’s legacy with compassion and joy.”

The Future of Duchenne Research

The funds raised are critical for advancing research efforts aimed at finding treatments and improving care for those living with Duchenne muscular dystrophy. CureDuchenne is committed to accelerating research initiatives and to supporting families affected by this progressive disease. Their work includes funding early-stage scientific research, enhancing patient care, and providing educational resources to families.

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CureDuchenne’s mission is clear: to bring treatments to everyone affected by this relentless disease, regardless of their financial status or geographical location. As the organization continues its vital work, the funding from the Blizzard partnership will play a crucial role in driving groundbreaking research forward.

The collaboration between Blizzard Entertainment and the World of Warcraft community serves as a shining example of how gaming can transcend entertainment to become a force for social good. The $2 million raised for CureDuchenne is more than a financial contribution; it symbolizes a tribute to personal legacy and a community united by purpose.

As we remember Mats Steen and cherish the friendships forged in virtual worlds, let us continue to advocate for those living with Duchenne muscular dystrophy. Together, we can harness the power of community and gaming to drive change, support vital research, and ultimately, help find a cure. If this campaign inspires you, consider supporting CureDuchenne or participating in similar initiatives within the gaming community to make a difference. For more information on how to contribute, visit CureDuchenne.

About Blizzard Entertainment, Inc.
Best known for iconic video game universes including Warcraft®, Overwatch®, Diablo®, and StarCraft®, Blizzard Entertainment, Inc. (www.blizzard.com), a division of Activision Blizzard, which Microsoft acquired (NASDAQ: MSFT), is a premier developer and publisher of entertainment experiences. Blizzard Entertainment has created some of the industry’s most critically acclaimed and genre-defining games over the last 30 years, with a track record that includes multiple Game of the Year awards. Blizzard Entertainment engages tens of millions of players around the world with titles available on PC via Battle.net®, Xbox, PlayStation, Nintendo Switch, iOS, and Android.

SOURCE CureDuchenne

Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series, and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/

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The 16th Street Train Station in West Oakland, a historic landmark that has stood as a silent witness to over a century of cultural and industrial evolution, is now one step closer to restoration. Recently listed on the National Register of Historic Places, the station’s new status has ignited hope and momentum for its revival. This milestone, celebrated by preservationists and community members alike, could be the key to unlocking the funding and support needed to breathe new life into this iconic structure.

A Moment of Celebration and Reflection

“I am ecstatic,” said Feleciai Favroth, treasurer of the Oakland Heritage Alliance, which spearheaded the station’s nomination for historic designation. “This could be the key to make the station a viable rehab project.” Favroth’s enthusiasm is shared by many who have long advocated for the station’s preservation, recognizing its profound historical and cultural significance.

The listing on the National Register of Historic Places not only honors the station’s legacy but also makes it eligible for a 20% federal income tax credit for restoration costs. Similar incentives have played a crucial role in reviving other Bay Area landmarks, such as Oakland’s Fox Theater and Richmond’s Ford Assembly Plant. “The bottom line of the tax credit is it just makes things much more financially feasible and attractive for developers,” said Kara Brunzell, an architectural historian who worked on the nomination.

A Daunting Financial Challenge

Despite this significant achievement, the road to restoration remains steep. The station requires an estimated $50 million for seismic retrofitting and restoration—a daunting sum that has stymied previous efforts to save the building. “Just because we’re on the registry doesn’t mean the station is saved,” Favroth cautioned. Over the decades, multiple owners have attempted to restore the station, but none have secured the necessary funding.

The current owner, City Ventures, has proposed a 77-unit townhome-style development called “Signal House” around the station site. However, the plan, under review since May 2023, does not include the station’s rehabilitation. City Ventures has hired OE Consulting to explore fundraising options for the station’s repairs. According to OE Consulting, the search is on for an “anchor funder”—a major donor willing to provide the initial funds to kickstart the restoration and allow the community to decide the station’s future use.

A Vision for the Future

The Oakland Heritage Alliance is now focused on securing funding for a feasibility study to explore the station’s potential. “You have to do something that’s financially viable because that’s the big thing nowadays with historical preservation. ‘Can the asset financially sustain itself?’” Favroth explained. Proposed ideas for the station’s reuse include an event venue, offices, a technology hub, or a business incubator.

Brunzell emphasized the station’s architectural and historical significance, comparing it to Grand Central Station in its grandeur and solidity. Designed in the Beaux Arts style by renowned architect Jarvis Hunt and opened in 1912, the station was a key hub for both local and long-distance trains during the heyday of rail travel. “You could come into the station from distant parts on the Southern Pacific, get off on the ground floor, walk upstairs, and get on a local streetcar to take you to your hotel. That was really important and unusual for the time,” Brunzell said.

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Honoring African American History

The 16th Street Train Station is also one of the first to be designated under a new category that recognizes the history of African Americans in California. For Favroth, the station holds deep personal significance. Like many African Americans, her family has a direct connection to the station. Her aunts passed through it when they migrated to Oakland from Louisiana in the 1940s during the Great Migration. “I wanted to be able to honor their history and their memory,” Favroth said. “And this station has a strong tie to our history.”

The station served as a gateway for thousands of Black families seeking new opportunities in the West, and its surrounding neighborhood became a vibrant center of African American culture, commerce, and activism. Restoring the station is not just about preserving a building—it’s about reclaiming a piece of history that reflects the resilience and contributions of the Black community.

A Community Effort

The push to restore the 16th Street Train Station is a testament to the power of community advocacy and collaboration. From preservationists and historians to local officials and developers, a diverse coalition is working to ensure the station’s future. While challenges remain, the historic designation has provided a critical boost, offering both recognition and financial incentives to support the restoration effort.

As the project moves forward, the focus will be on balancing historical preservation with modern needs, ensuring that the station becomes a sustainable and inclusive space for the community. For West Oakland, the restoration of the 16th Street Train Station represents more than just the revival of a building—it’s a chance to honor the past, inspire the present, and build a brighter future.

https://www.kqed.org/news/12024819/historic-landmark-status-boosts-push-restore-iconic-west-oakland-train-station

The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.

https://stmdailynews.com/the-bridge

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Deborah W. Parker, University of Virginia

“Just Because I am a Librarian doesn’t mean I have to dress like one.”

With this breezy pronouncement, Belle da Costa Greene handily differentiated herself from most librarians.

She stood out for other reasons, too.

In the early 20th century – a time when men held most positions of authority – Greene was a celebrated book agent, a curator and the first director of the Morgan Library. She also earned US$10,000 a year, about $280,000 today, while other librarians were making roughly $400.

She was also a Black woman who passed as white.

Born in 1879, Belle was the daughter of two light-skinned Black Americans, Genevieve Fleet and Richard T. Greener, the first Black man to graduate from Harvard. When the two separated in 1897, Fleet changed the family’s last name to Greene and, along with her five children, crossed the color line. Belle Marion Greener became Belle da Costa Greene – the “da Costa” a subtle claim to her Portuguese ancestry.

When banking magnate J.P. Morgan sought a librarian in 1905, his nephew Junius Morgan recommended Greene, who had been one of his co-workers at the Princeton Library.

Henceforth, Greene’s life didn’t just kick into a higher gear. It was supercharged. She became a lively fixture at social gatherings among America’s wealthiest families. Her world encompassed Gilded Age mansions, country retreats, rare book enclaves, auction houses, museums and art galleries. Bold, vivacious and glamorous, the keenly intelligent Greene attracted attention wherever she went.

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I found myself drawn to the worlds Greene entered and the people she described in her lively letters to her lover, art scholar Bernard Berenson. In 2024, I published a book, “Becoming Belle Da Costa Greene,” which explores her voice, her self-invention, her love of art and literature, and her path-breaking work as a librarian.

Yet I’m often asked whether Greene mentions her passing as white in her writings. She did not. Greene was one of hundreds of thousands of light-skinned Black Americans who passed as white in the Jim Crow era. While speculation about Greene’s background circulated in her lifetime, nothing was confirmed until historian Jean Strouse revealed the identities of Greene’s parents in her 1999 biography, “Morgan: American Financier.” Until that point, only Greene’s mother and siblings knew the story of their Black heritage.

“Passing” can often raise more questions than answers. But Greene did not largely define herself through one category, such as her racial identity. Instead, she constructed a self through the things she loved.

‘I love this life – don’t you?’

In my view, any consideration of Greene’s attitudes toward her own race must remain an open question. And uncertainty can be acknowledged – even embraced – with judgments suspended.

The Morgan Library & Museum currently has an exhibition on Greene that will run until May 4, 2025 – one that’s already generated debates about Greene and the significance of her passing.

One section of the exhibition, “Questioning the Color Line,” includes novels on passing, paintings such as Archibald J. Motley Jr.’s “The Octoroon Girl,” photographs of Greene, and clips from Oscar Micheaux’s 1932 film “Veiled Aristocrats” and John M. Stahl’s 1934 film “Imitation of Life,” which portray painful scenes between white-passing characters and their family members.

None of these objects clarifies Greene’s particular relationship to passing. Instead, they place the librarian within melodramatic and conventional representations about passing that stress self-division and angst.

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We don’t know – perhaps we will never know – whether Greene had similar moments of self-doubt.

Yet some critics have concluded as much. In his review of the exhibition for The New Yorker, critic Hilton Als laments what Greene’s passing had cost her. He describes her as a “girl who loved power,” a woman who “became a member of another race – not Black or white but alternately grandiose and self-despising.”

There’s a lot of certainty in such a pronouncement – and scant evidence furnished to support such declarations.

New York Times columnist John McWhorter takes issue with Als’s depiction of the librarian’s passing in a Jan. 23, 2025, article.

Citing passages from her letters in which Greene excitedly describes reading the Arabic folktales “The Thousand and One Nights” and seeing exhibitions of modern art, McWhorter asks readers to reconsider this “witty, puckish soul who savored books and art” and “had an active social life.”

What if Greene gave her race little thought, McWhorter wonders. What if she simply saw the notion of race and racial categorization as “a fiction” and instead lived her life to its fullest? Of course, her light skin afforded her the opportunity that other Black people of her era didn’t have. But does that necessarily mean that she was self-loathing or conflicted?

“[W]e are all wearing trousers and I love them,” Greene writes in one letter to Berenson, adding, “The Library grows more wonderful every day and I am terribly happy in my work here … I love this life – don’t you?”

Greene’s vitality captivated Berenson, who once described the librarian as “incredibly and miraculously responsive.”

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The connoisseur was not the only contemporary who admired Greene’s effervescence. In “The Living Present,” an account of the activities of women before and after World War II, Greene’s friend Gertrude Atherton paid tribute to Greene, a “girl so fond of society, so fashionable in dress and appointments” that she could impress any stranger with her “overflowing joie de vivre.”

Crafting an aura

Viewed through a more expansive lens, Greene’s passing can be seen as part of an exercise in self-fashioning and self-invention.

Greene dressed to be noticed – and she was. Meta Harrsen, the librarian Greene hired in 1922, offers a rare eye-witness account. On the day Greene interviewed Harrsen, “she wore a dress of dark red Italian brocade shot with silver threads, a gold braided girdle, and an emerald necklace.”

Greene understood well the power of clothes to project a distinct identity – a highly crafted one in this case, and one befitting a connoisseur of rare books.

At that, she excelled. She became known for her stunning acquisition coups: her purchase of 16 rare editions of the works of English printer William Caxton at an auction; her procurement of the highly coveted Crusader’s Bible through a private negotiation; and her acquisition of the Spanish Apocalypse Commentary, a medieval text written by a Spanish monk that Greene was able to buy at a steep discount.

To me, a 1915 photo captures Greene’s confidence and aura more than any other image of the librarian.

She posed in her home and wasn’t shot in soft focus with a studio backdrop as other photographs tend to portray her. Sitting on the arm of a large chair upholstered in a tapestry weave, she wears an elaborate hat with a large ostrich plume, a high-necked blouse under a long, loosely belted jacket with a ruffled cuff over a long dark skirt. The decor is no less striking: Flemish tapestries decorate the walls behind her, and a liturgical vestment is draped over the bookcase. Looking directly at the viewer, Greene is assured and poised.

Greene’s stylish flair was not simply decorative. It was a testament to her vibrant personality and the joy she took in her work. Rather than judge her according to contemporary notions of racial identity, I prefer to marvel over her achievements and how she became a model for generations of future librarians.

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Greene didn’t just pass. She surpassed – in spectacular ways.

Deborah W. Parker, Professor of Italian, University of Virginia

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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