Situwuka and Katkwachsnea, Native American couple, 1912. Submitted by degbnth
(Source: mydaguerreotypeboyfriend, via contemplatingmadamebovary)
![nefermaathotep:
Einstein addressing students at Lincoln University, May 1946.“As for the Negroes this country still has a heavy debt to discharge for all the troubles and disabilities it has laid on the Negro’s shoulders; for all that his fellow-citizens have done and to some extent are still doing to him. To the Negro and his wonderful songs and choirs we owe the finest contribution in the realm of art which America has so far given to the world. And this great gift we owe, not to those whose names are engraved on this ‘Wall of Fame’ but to children of the people, blossoming namelessly as the lilies of the field.” [5]“There is … a somber point in the social outlook of Americans … Their sense of equality and human dignity is mainly limited to men of white skins. Even among these there are prejudices of which I as a Jew am dearly conscious; but they are unimportant in comparison with the attitude of ‘Whites’ toward their fellow-citizens of darker complexion, particularly toward Negroes. … The more I feel an American, the more this situation pains me. I can escape the feeling of complicity in it only by speaking out.” Racism is America’s greatest disease” and “Racism is a disease of the white man.” Albert Einstein](http://24.media.tumblr.com/bfffe00f3e425e85253596893f22dc9e/tumblr_mli728DvDJ1qhjt82o1_500.jpg)
Einstein addressing students at Lincoln University, May 1946.
“As for the Negroes this country still has a heavy debt to discharge for all the troubles and disabilities it has laid on the Negro’s shoulders; for all that his fellow-citizens have done and to some extent are still doing to him. To the Negro and his wonderful songs and choirs we owe the finest contribution in the realm of art which America has so far given to the world. And this great gift we owe, not to those whose names are engraved on this ‘Wall of Fame’ but to children of the people, blossoming namelessly as the lilies of the field.” [5]
“There is … a somber point in the social outlook of Americans … Their sense of equality and human dignity is mainly limited to men of white skins. Even among these there are prejudices of which I as a Jew am dearly conscious; but they are unimportant in comparison with the attitude of ‘Whites’ toward their fellow-citizens of darker complexion, particularly toward Negroes. … The more I feel an American, the more this situation pains me. I can escape the feeling of complicity in it only by speaking out.”
Racism is America’s greatest disease” and “Racism is a disease of the white man.” Albert Einstein
(via exallamsehtfes)
"
In September of 1829 slavery was prohibited in Mexico. Because the politically connected Texans were outraged, one month later, the law was changed to allow slavery only in Texas. A few months later in early 1830, Mexico altered its policy under a new government that was less interested in catering to Texas. Mexico passed a law that prohibited further American settlement, and banned importation of additional slaves into Texas. The Mexican abolition movement, following the pattern seen around the world, had apparently pressured for more restrictions. This was a strict proviso, but for the Texans it was survivable, as they already had thousands of slaves within Mexico. The law must have created difficulties for the Texans and been a great source of irritation to them as they worked to develop their slave labour based agricultural economy. There were other grievances by this time, such as the amount of taxes the Texans were required to pay, but none struck home so much as the “bread and butter” issue of slavery. Without it, the Texans could not make a profit and ultimately would be out of business.
As the American population of Texas grew increasingly disgruntled with the various restrictions imposed by Mexico, an independence movement developed led by Stephen Austin. He presented a petition for independence to the Mexican government in 1833, and was then arrested and jailed until 1835. In 1835, there were about 20,000 Texans and 4000 slaves in Texas. In December of 1835 the newly crowned dictator General Antonio Santa Anna amended the slavery laws to ban slavery in Texas.
The settlers and their newly freed leader Austin quickly announced that they would secede from Mexico. To the great dismay of the Texans, however, in December of 1835 President Santa Ana extended the slavery ban to Texas to appease Mexican abolitionists. The Texans immediately rebelled and declared that they were seceded from Mexico, and declared the Republic of Texas. One of their first actions was to ban free blacks from the Republic. Not content with the possibility of withdrawing from Texas, the Texans enlisted the help of citizens of the United States in order to preserve slavery and the huge tracts of cotton growing land. This resulted in the famous siege and battle at the Alamo, a Catholic mission taken over by the Texans.
"—
Remembering The Alamo was just as much about slavery as it was about Texas freedom from the slave abolishing country of Mexico (via thehuskybro)
Just when I think nobody reads any of my posts, somebody will go digging through the crates and find something and prove me wrong.
Thanks for that and pass it on!
(via thehuskybro)
Remember: the “liberal” city I live in was NAMED after this dude.
(via seanpadilla)
(via alienswithankhs)
![afrodiaspores:
Laura R. Gadson, ”Reception At Ibo Landing,” ca. 2011, a quilt shown in Mermaids and Merwomen in Black Folklore: A Fiber Arts Exhibition, 2012. Filmmaker and author Julie Dash told bell hooks,
The Ibo Landing myth – there are two myths and one reality…
Ibo captives, African captives of the Ibo [ethnic group, also spelled “Igbo”], when they were brought to the New World, they refused to live in slavery. There are accounts of them having walked into the water, and then on top of the water all the way back to Africa, you know, rather than live in slavery in chains. There are also myths of them having flown from the water, flown all the way back to Africa. And then there is the story – the truth or the myth – of them walking into the water and drowning themselves in front of the captors.
I was able, in my research [for “Daughters of the Dust”], to read some of the accounts from the sailors who were on the ship when supposedly it happened, and a lot of the shipmates, the sailors or other crew members, they had nervous breakdowns watching this. Watching the Ibo men and women and children in shackles, walking into the water and holding themselves under the water until they in fact drowned.
And then interestingly enough, in my research, I found that almost every Sea Island has a little inlet, or a little area where the people say, “This is Ibo Landing. This is where it happened. This is where this thing really happened.” And so, why is it that on every little island – and there are so many places – people say, “This is actually Ibo Landing”? It’s because that message is so strong, so powerful, so sustaining to the tradition of resistance, by any means possible, that every Gullah community embraces this myth. So I learned that myth is very important in the struggle to maintain a sense of self and to move forward into the future.](http://24.media.tumblr.com/560296944910baa4fcd7246901567d8f/tumblr_mkwo5aGs271qjeot1o1_r1_500.jpg)
Laura R. Gadson, ”Reception At Ibo Landing,” ca. 2011, a quilt shown in Mermaids and Merwomen in Black Folklore: A Fiber Arts Exhibition, 2012. Filmmaker and author Julie Dash told bell hooks,
The Ibo Landing myth – there are two myths and one reality…
Ibo captives, African captives of the Ibo [ethnic group, also spelled “Igbo”], when they were brought to the New World, they refused to live in slavery. There are accounts of them having walked into the water, and then on top of the water all the way back to Africa, you know, rather than live in slavery in chains. There are also myths of them having flown from the water, flown all the way back to Africa. And then there is the story – the truth or the myth – of them walking into the water and drowning themselves in front of the captors.
I was able, in my research [for “Daughters of the Dust”], to read some of the accounts from the sailors who were on the ship when supposedly it happened, and a lot of the shipmates, the sailors or other crew members, they had nervous breakdowns watching this. Watching the Ibo men and women and children in shackles, walking into the water and holding themselves under the water until they in fact drowned.
And then interestingly enough, in my research, I found that almost every Sea Island has a little inlet, or a little area where the people say, “This is Ibo Landing. This is where it happened. This is where this thing really happened.” And so, why is it that on every little island – and there are so many places – people say, “This is actually Ibo Landing”? It’s because that message is so strong, so powerful, so sustaining to the tradition of resistance, by any means possible, that every Gullah community embraces this myth. So I learned that myth is very important in the struggle to maintain a sense of self and to move forward into the future.
(via cutefoshowithanafro)
Government project: By the 1930s, surviving former slaves were old men and women; the time in which to capture their testimonies was running out, thus putting a sense of urgency to the project… One slave said in 1855: ‘Tisn’t he who has stood and looked on, that can tell you what slavery is – ‘tis he who has endured.’
Another man, John W. Fields, 89, said: ‘We were never allowed to go to town and it was not until after I ran away that I knew that they sold anything but slaves, tobacco, and whiskey. Our ignorance was the greatest hold the South had on us. We knew we could run away, but what then? An offender guilty of this crime was subjected to very harsh punishment.’
(via acceber74)
Nomades du soleil de Henry Brandt, Edition La Guilde du livre, Lausanne, 1956.
(Source: endilletante, via cutefoshowithanafro)
![afrodiaspores:
Candita Quintana (1912-77), Afro-Cuban soprano, actress, and dancer famous for her roles as mulatas (women of both African and European descent), stock characters in the Cuban genre of Blackface theater called teatro bufo. Robin Moore explains,
The first actresses to depict the mulata in the comic theater [were] primarily white women…Famous mulatas of the twenties and thirties, by contrast, came more often from working-class families and had little or no formal training. These included Luz Gil, Blanca Becerra, and Candita Quintana. Some of these women were white but darkened their skin artificially when they performed as mulatas; others were actually light-skinned mulatas and accepted as such. In the tradition of the guaracha, musical sketches and dialogues depicting mulatas tended to emphasize the association between women of color with promiscuity and forbidden desire.
Ramón Espigul remembers,
I first met her when she shared the stage with my father, Ramón Espigul, the famous ‘‘Negrito’’ (the Black) of Alhambra Theatre. The last period they worked together was from 1965 to 1970, at Marti theatre, where my father was ‘‘The Black’’ and she was ‘‘The Mulatto’’…She was a vigorous woman, who did not just perform, but played other roles at Alhambra theatre as well.
She used to be a very friendly person, enthusiastic, with such a funny voice, who used to sing and dance; qualities of folk theatre artists, who used not to be great dancers and singers. She was also very serious and responsible at work…
I never heard her to speak ill of anyone…she couldn’t even see a helpless animal on the street since she usually used to carry it. By the way, I remember she had many cats at home. Moreover, she exceedingly loved elder people and helped retired artists…
She looked so relaxed on stage. However, she was quite different outside the stage. People who saw her, used to say that she was a ‘‘guarachera’’ (party-loving woman), but she was not, just when performing.](http://24.media.tumblr.com/2a2b64215a93c302a28727fedde7391c/tumblr_mkolsm61tZ1qjeot1o1_500.jpg)
Candita Quintana (1912-77), Afro-Cuban soprano, actress, and dancer famous for her roles as mulatas (women of both African and European descent), stock characters in the Cuban genre of Blackface theater called teatro bufo. Robin Moore explains,
The first actresses to depict the mulata in the comic theater [were] primarily white women…Famous mulatas of the twenties and thirties, by contrast, came more often from working-class families and had little or no formal training. These included Luz Gil, Blanca Becerra, and Candita Quintana. Some of these women were white but darkened their skin artificially when they performed as mulatas; others were actually light-skinned mulatas and accepted as such. In the tradition of the guaracha, musical sketches and dialogues depicting mulatas tended to emphasize the association between women of color with promiscuity and forbidden desire.
Ramón Espigul remembers,
I first met her when she shared the stage with my father, Ramón Espigul, the famous ‘‘Negrito’’ (the Black) of Alhambra Theatre. The last period they worked together was from 1965 to 1970, at Marti theatre, where my father was ‘‘The Black’’ and she was ‘‘The Mulatto’’…She was a vigorous woman, who did not just perform, but played other roles at Alhambra theatre as well.
She used to be a very friendly person, enthusiastic, with such a funny voice, who used to sing and dance; qualities of folk theatre artists, who used not to be great dancers and singers. She was also very serious and responsible at work…
I never heard her to speak ill of anyone…she couldn’t even see a helpless animal on the street since she usually used to carry it. By the way, I remember she had many cats at home. Moreover, she exceedingly loved elder people and helped retired artists…
She looked so relaxed on stage. However, she was quite different outside the stage. People who saw her, used to say that she was a ‘‘guarachera’’ (party-loving woman), but she was not, just when performing.
(via freshmouthgoddess)
British contralto Evelyn Dove (1902-1987) wearing a mantilla and holding a fan in a photography by Carl Van Vechten taken on December 27, 1935. Born in London to a barrister from Sierra Leone and his British wife, Ms. Dove’s career took her all over the world, from American jazz clubs to cabarets from Paris to India. She was best known to most for her work in BBC radio broadcasts in the 1940s. In 1956, she portrayed Eartha Kitt’s mother in a BBC television drama called “Mrs. Patterson,” that starred the American-born British-based singer, Elisabeth Welch. She also appeared on stage in London’s West End in a production of Langston Hughes’s “Simply Heavenly.” Photo: Beinecke Rare Book and Manuscript Library.
(via rubyshimmer)
In 1950s America Helen Williams became the first black female model to break into the fashion mainstream. Born in East Riverton, New Jersey in 1937, she was obsessed with clothes from an early age, and began sewing her own garments at the age of seven. As a teenager she studied dance, drama and art before getting a job as a stylist at a New York photography studio. While there she was spotted on separate occasions by Lena Horne and Sammy Davis Jr, who happened to be in the studio doing press shots. Struck by her beauty, they urged her to take up modelling. She was seventeen.
With her trademark bouffant wig, sculpted eyebrows and long, giraffe-like neck, she worked exclusively for African American magazines such as Ebony and Jet.
(via hamburgerjack)
![de-colonize:
anti-clerical:
ramirezbundydahmer:
When the Nazi concentration camps were liberated by the Allies, it was a time of great jubilation for the tens of thousands of people incarcerated in them. But an often forgotten fact of this time is that prisoners who happened to be wearing the pink triangle (the Nazis’ way of marking and identifying homosexuals) were forced to serve out the rest of their sentence. This was due to a part of German law simply known as “Paragraph 175” which criminalized homosexuality. The law wasn’t repealed until 1969.
This should be required learning, internationally.
this ^^^^
In contradistinction to normal police, the Gestapo were authorized to take gay men into preventive detention (Schutzhaft) of arbitrary duration without an accusation (or even after an acquittal). This was often the fate of so-called “repeat offenders”: at the end of their sentences, they were not freed but sent for additional “reeducation” (Umerziehung) in a concentration camp. Only about 40 percent of these pink triangle prisoners – whose numbers amounted to an estimated 10,000 – survived the camps. Some of them, after their release by the Allied Forces, were placed back in prison, because they had not yet finished court-mandated terms of imprisonment for homosexual acts.[SOURCE: Wikipedia]](http://25.media.tumblr.com/f4cdd3656691efbe5f7413403157e5b8/tumblr_miuni7t6QT1rgbm67o1_500.jpg)
When the Nazi concentration camps were liberated by the Allies, it was a time of great jubilation for the tens of thousands of people incarcerated in them. But an often forgotten fact of this time is that prisoners who happened to be wearing the pink triangle (the Nazis’ way of marking and identifying homosexuals) were forced to serve out the rest of their sentence. This was due to a part of German law simply known as “Paragraph 175” which criminalized homosexuality. The law wasn’t repealed until 1969.
This should be required learning, internationally.
this ^^^^
In contradistinction to normal police, the Gestapo were authorized to take gay men into preventive detention (Schutzhaft) of arbitrary duration without an accusation (or even after an acquittal). This was often the fate of so-called “repeat offenders”: at the end of their sentences, they were not freed but sent for additional “reeducation” (Umerziehung) in a concentration camp. Only about 40 percent of these pink triangle prisoners – whose numbers amounted to an estimated 10,000 – survived the camps. Some of them, after their release by the Allied Forces, were placed back in prison, because they had not yet finished court-mandated terms of imprisonment for homosexual acts.[SOURCE: Wikipedia]
(via jellobatch)
