The Belafonte TV Ad
Andrew Young Remembers JFK and MLK’s sorrow at hearing Kennedy had been assasinated -
John Lewis’ remembrance -
The Belafonte TV Ad
Andrew Young Remembers JFK and MLK’s sorrow at hearing Kennedy had been assasinated -
John Lewis’ remembrance -
This was one of the major (Mis)Trials of the last century. 9 black Boys accused of raping two white women in the segregated, Jim Crow, Alabama of 1931.Amazingly enough, despite high tensions – they didn’t get lynched. All but one of the boys was convicted and given the death penalty. None of the Boys was executed, but spent long terms in jail.
Alabama’s parole board voted Thursday to grant posthumous pardons to men known as the Scottsboro Boys from a 1931 rape case.
The Alabama Board of Pardons and Paroles granted full and unconditional pardons to three of the nine black boys who were falsely accused of raping two white women on a train in northeast Alabama in 1931.
The board unanimously approved the pardons for Haywood Patterson, Charlie Weems and Andy Wright after a short hearing in Montgomery. The three men were the last of the accused to have convictions from the case on their records.
“This decision will give them a final peace in their graves, wherever they are,” said Sheila Washington, director of the Scottsboro Museum and Cultural Center in Scottsboro, who helped initiate the petition.
Patterson, Weems and Wright, along with defendant Clarence Norris, were convicted on rape charges in 1937, after a six-year ordeal that included three trials, the recantation of one of the accusers and two landmark U.S. Supreme Court decisions on legal representation and the racial make-up of jury pools.
The men were all convicted by all-white juries, and all but the youngest defendant was sentenced to death.
Alabama ultimately dropped rape charges against five of the accused. Norris received a pardon before his death from Alabama Gov. George Wallace in 1976.
Last spring, the Alabama Legislature unanimously passed a law to allow the parole board to issue posthumous pardons for convictions at least 75 years old. The law was specifically designed to allow the pardon of the Scottsboro Boys to go forward.
In October, a group of scholars petitioned the Board of Pardons and Paroles to grant pardons to the men. The petition was endorsed by the judges and district attorneys of the counties where the initial trials took place.
“This is a different state than it was 80 years ago, and thank God for that,” said state Sen. Arthur Orr, a Republican from Decatur where the second and third round of trials took place. “It’s an important step for our state to take.”
Under Alabama law, pardons can only be granted to those who have felony convictions on their record. The petitioners had initially hoped the board would review the status of each of the defendants.
The Board’s decision led to a round of applause Thursday morning, but many of those who worked on the pardon called the news bittersweet. Patterson died of cancer in 1952, and many of the other defendants, including Weems and Wright, felt compelled to move out of Alabama and keep a low profile after their release from prison.
University of Alabama professor John Miller, who helped prepare the petition, said at the time of his pardon, Norris was living in New York under his brother’s name.
“With some of them, we really don’t know if they died with their right name, or a different name,” Washington said. “They no longer wanted to be known.”
Weems is known to have moved to the Atlanta area after his release, but his date of death is unknown. Washington said Wright, along with his brother Roy, another one of the Scottsboro Boys, is buried in Chattanooga, Tenn.
“It’s tragic in that those young men’s live were destroyed, all by a very biased and unfair judicial process,” Orr said. “The place where you seek justice did not dispense justice for these young men. It ruined their lives, some more than others, and it affected them to their graves.”
Richard Overton of Austin, Texas is currently the oldest living WWII Veteran at 107 years of age.
H credits his longevity to whiskey and cigars!
Would that be Jim Beam, or George Dickel, sir?
Richard Overton, who at 107-years-old is America’s oldest living veteran on record, was honored last week at a Veterans Day ceremony in Austin, Texas. In addition to a standing ovation, Overton received a box of cigars — a vice that he cites as a key ingredient in his recipe for longevity.
Overton takes no medicine, except for aspirin. Instead, he smokes cigars — up to 12 a day, he told Fox News this spring — and drinks whiskey with his morning coffee. The secret to living long, he told the Houston Chronicle, is “staying out of trouble.”
“I also stay busy around the yards, I trim trees, help with the horses,” he told Fox. “The driveways get dirty, so I clean them. I do something to keep myself moving. I don’t watch television.”
Overton served in the Army during World War II in Hawaii, Guam, Palau and Iwo Jima. He now lives in Austin.
On Sunday, Overton was set to be honored in Washington, D.C. by President Barack Obama as part of the White House’s Veterans Day festivities. According to KEYE TV, Overton was scheduled to have breakfast with the president and Vice President Joe Biden, and then attend a wreath-laying ceremony at Arlington National Ceremony.
“The president wants me to come with him,” Overton said. “I’m su
rprised he called me.”
Not sure of the details here – but this is an expensive one for Grambling and Jackson State. They fired Doug WIlliams? Geez!
The team is 0-7 this year, after a 48-0 loss to Alcorn State last week. The team had a 1-11 record in 2012.
A Jackson State spokesman has announced that Saturday’s game against Grambling has been canceled.
JSU spokesman Wesley Peterson told The Associated Press Friday that Grambling officials contacted Jackson State to inform the university of the decision.
Disgruntled Grambling players had refused to travel to Mississippi for the game. Grambling spokesman Will Sutton had said earlier in a text to the AP that there would be “no forfeit” and that Grambling officials were trying to determine the next step to take.
Apparently, nothing could be worked out so that the game could be played.
Southwestern Athletic Conference Commissioner Duer Sharp had said before the decision was made not to play that if Grambling does not show for Saturday’s game, it will be forced to forfeit and the school will be fined.
“It’s very disappointing,” Sharp said. “But without knowing all the facts it’s hard for me to make a judgment.”
Friday’s apparent player boycott was the latest in three days of upheaval for Grambling’s proud program. Several media outlets have reported that players did not attend practice on Wednesday and Thursday because of issues with program and school leadership.
Grambling (0-7) has changed coaches twice in about two months. Doug Williams was fired two games into the season and replaced by George Ragsdale, who was reassigned Thursday and replaced by Dennis “Dirt” Winston.
The game is Jackson State’s homecoming and could hurt the school financially. The Grambling-Jackson State matchup usually draws very well — an announced crowd of more than 21,000 attended the game in Jackson in 2011.
Back before digital photography, the Film used in professional level cameras had distinct qualities in terms of color rendition. Certain types of Kodak tended towards blue, others were “warm” – enriching the reds and yellows. This meant if you were shooting anything with blue, the sky for instance – the rendition was spectacular. Browns and greens tended to be “muddy” and tonal quality – the differentiation between something with multiple greens for instance – tended to wash out into a “middling” color instead of the full spectrum. Fuji Film tended towards yellow, and produced really vibrant greens and, to a lesser extent browns…
Ergo – getting film to “see” black folks, or even render the plethora of skin tones was difficult, if not impossible. Getting fine detail was virtually impossible for darker skin tones.
Since similar film formulations were used to make movies – black folks just all came out as the same color – if you could see an detail at all.
In one of the first scenes of early Oscar favorite “12 Years a Slave,” the film’s protagonist, Solomon Northup, played by Chiwetel Ejiofor , is seen at night, sleeping alongside a fellow enslaved servant. Their faces are barely illuminated against the velvety black background, but the subtle differences in their complexions — his a burnished mahogany, hers bearing a lighter, more yellow cast — are clearly defined.
“Mother of George,” which like “12 Years a Slave” opens on Friday, takes place in modern-day Brooklyn, not the candlelit world of 19th-century Louisiana. But, like “12 Years a Slave,” its black stars and supporting players are exquisitely lit, their blue-black skin tones sharply contrasting with the African textiles they wear to create a vibrant tableau of textures and hues.
“Mother of George” and “12 Years a Slave” are just the most recent in a remarkable run of films this year by and about African Americans, films that range in genre from the urban realism of “Fruitvale Station” and light romantic comedy of “Baggage Claim” to the high-gloss historic drama of “Lee Daniels’ The Butler” and the evocatively gritty pot comedy “Newlyweeds.” The diversity of these films isn’t reflected just in their stories and characters, but in the wide range of skin tones they represent, from the deepest ebonies to the creamiest caramels.
The fact that audiences are seeing such a varied, nuanced spectrum of black faces isn’t just a matter of poetics, but politics — and the advent of digital filmmaking. For the first hundred years of cinema, when images were captured on celluloid and processed photochemically, disregard for black skin and its subtle shadings was inscribed in the technology itself, from how film-stock emulsions and light meters were calibrated, to the models used as standards for adjusting color and tone.
That embedded racism extended into the aesthetics of the medium itself, which from its very beginnings was predicated on the denigration and erasure of the black body. As far back as “The Birth of a Nation” — in which white actors wearing blackface depicted Reconstruction-era blacks as wild-eyed rapists and corrupt politicians — the technology and grammar of cinema and photography have been centered on the unspoken assumption that their rightful subjects would be white.
The result was that, if black people were visible at all, their images would often be painfully caricatured (see Hattie McDaniel in “Gone With the Wind”) or otherwise distorted, either ashy and washed-out or featureless points of contrast within the frame. As “12 Years a Slave” director Steve McQueen said in Toronto after the film’s premiere there, “I remember growing up and seeing Sidney Poitier sweating next to Rod Steiger in ‘In the Heat of the Night,’ and obviously [that was because] it’s very hot in the South. But also he was sweating because he had tons of light thrown on him, because the film stock wasn’t sensitive enough for black skin.”
Montré Aza Missouri, an assistant professor in film at Howard University, recalls being told by one of her instructors in London that “if you found yourself in the ‘unfortunate situation’ of shooting on the ‘Dark Continent,’ and if you’re shooting dark-skinned people, then you should rub Vaseline on their skin in order to reflect light. It was never an issue of questioning the technology.” In her classes at Howard, Missouri says, “I talk to my students about the idea that the tools used to make film, the science of it, are not racially neutral.”
Missouri reminds her students that the sensors used in light meters have been calibrated for white skin; rather than resorting to the offensive Vaseline solution, they need to manage the built-in bias of their instruments, in this case opening their cameras’ apertures one or two stops to allow more light through the lens. Filmmakers working with celluloid also need to take into account that most American film stocks weren’t manufactured with a sensitive enough dynamic range to capture a variety of dark skin tones. Even the female models whose images are used as reference points for color balance and tonal density during film processing — commonly called “China Girls” — were, until the mid-1990s, historically white.
In the face of such technological chauvinism, filmmakers have been forced to come up with workarounds, including those lights thrown on Poitier and a variety of gels, scrims and filters. But today, such workarounds have been rendered virtually obsolete by the advent of digital cinematography, which allows filmmakers much more flexibility both in capturing images and manipulating them during post-production.
Cinematographer Anastas Michos recalls filming “Freedomland” with Julianne Moore and Samuel L. Jackson, whose dramatically different complexions presented a challenge when they were in the same shot. “You had Julianne Moore, who has minus pigment in her skin, and Sam, who’s a dark-skinned guy. It was a photographic challenge to bring out the undertones in both of them.”
Michos solved the problem during a phase of post-production called the digital intermediate, during which the film print is digitized, then manipulated and fine-tuned. “You’re now able to isolate specific skin tones in terms of both brightness and color,” says Michos, who also shot “Baggage Claim,” “Jumping the Broom” and “Black Nativity,” due out later this year. “It gives you a little bit more flexibility in terms of how you paint the frame.”
Daniel Patterson, who shot “Newlyweeds” on a digital Red One camera, agrees, noting that on a recent shoot for Spike Lee’s “Da Blood of Jesus,” he was able to photograph black actors of dramatically different skin tones in a nighttime interior scene using just everyday house lamps, thanks to a sophisticated digital camera. “I just changed the wattage of the bulb, used a dimmer, and I didn’t have to use any film lights. That kind of blew me away,” Patterson says. “The camera was able to hold both of them during the scene without any issues.”
The multicultural realities films increasingly reflect go hand in hand with the advent of technology that’s finally able to capture them with accuracy and sensitivity. And on the forefront of this new vanguard is cinematographer and Howard University graduate Bradford Young , the latest in a long line of Howard alums — including Ernest Dickerson, Arthur Jafa and Malik Sayeed — who throughout the 1990s deployed the means of production to bring new forms of lyricism, stylization and depth to filmed images of African Americans….
Filed under: Black History, The Post-Racial Life | Tagged: 12 years a slave, black film, digital photography, film, film makers, imaging, media, movies, race, skin color, Technology | Leave a Comment »
This is awesome!
If you are over 55 and grew up in the Southern US – you more than likely remember segregation and Jim Crow having lived through the last parts of it. Ranger Soskin at 92 years of age has seen much of the change in this country starting before WWII. Her insights are fascinating…
The nation’s oldest full-time national park ranger, who works at the Rosie the Riveter museum in Richmond, Calif., recently joined the ranks of the furloughed because of the ongoing U.S. government shutdown.
Betty Reid Soskin, 92, is a ranger at the Rosie the Riveter/World War II Home Front National Historical Park in Northern California.
“At 92, I am very sensitive to the passage of time. We learned about the furlough gradually,” Soskin said told the Associated Press last week. “When it came at midnight (on) October 1, it seemed like a major interruption in my life because I don’t have time and these young folks were wasting my time, precious time.”
To make matters worse for Soskin, California officials refused Friday to use state money to open national parks, which means no reprieve for Soskin.
Soskin works three days a week as a tour guide and two days in the administrative office at the park that honors not only the famous Rosie but also tells the story of the home front during WWII.
Soskin became a park ranger seven years ago and leads tours at the park and museum that honors the women who worked in factories during wartime.But that all changed last week when the government shut down.
“It was like hitting a wall to come out from under my hat and back into civvies,” Soskin said.
She said she feels uncertain when she watches the developments between lawmakers in Washington, D.C., unfold on television.
“There are times when I feel like the only grown-up in the room. It’s a little disconcerting to feel like no one’s in charge. That’s the feeling I have when I watch the news,” Soskin said. “There are not enough wiser heads in Washington to determine where we should go. That uncertainty is unnerving.”
The National Park Service confirms that Soskin is the oldest full-time park ranger. At 93, Lyle Ruterbories, who works at Glacier National Park in Kintla Lake, Mont., near the U.S. and Canadian border, is the oldest seasonal ranger the park service is aware of, park service spokesman Jeff Olson told the AP this week.
The long standing problem with conservatism is the belief that striking a bell from the right will stop if from ringing. If it rings, the solution to achieve the desired goal of striking the bell without it ringing is to strike it further from the right.
There are obviously some folks on the school board down there in North Carolina who haven’t enjoyed the benefit of an education.
A lack of “literary value” has apparently left Ralph Ellison’s landmark 1952 novel, Invisible Man banned from school libraries in Randolph County, N.C., the Asheboro Courier-Tribune reports.
According to the Tribune, a parent of an eleventh grader wrote the school district expressing her disapproval of the book’s availability to students stating:
The narrator writes in the first person, emphasizing his individual experiences and his feelings about the events portrayed in his life. This novel is not so innocent; instead, this book is filthier, too much for teenagers. You must respect all religions and point of views when it comes to the parents and what they feel is age appropriate for their young children to read, without their knowledge. This book is freely in your library for them to read.As the school district’s policy requires, the parent’s complaints lead to votes on the school and district levels. Both held that the book should remain available to students in the library. However, in a 5-2 vote, the school board voted to ban the book, with one board member, Gary Mason, stating, “I didn’t find any literary value.”
Mason’s blunt assessment however, runs counter to decades of intellectual criticism of the novel, which won the 1953 National Book Award for fiction, beating out Ernest Hemingway’s The Old Man and the Sea and John Steinbeck’s East of Eden.
In 1995, writing for the New York Times, Roger Rosenblatt praised the novel as a masterpiece.
“Ralph Ellison’s “Invisible Man,” which won the National Book Award in 1953, was instantly recognized as a masterpiece, a novel that captured the grim realities of racial discrimination as no book had, ” Rosenblatt wrote. “Its reputation grew as Ellison retreated into a mythic literary silence that made his one achievement definitive.”
Including the book in its list of 100 Best English Language Novels since 1923, Time literary critic Lev Grossman also expressed great admiration for Ellison’s work.
“Evenhandedly exposing the hypocrisies and stereotypes of all comers, Invisible Man is far more than a race novel, or even a bildungsroman. It’s the quintessential American picaresque of the 20th century.”
Still, this kind of high praise wasn’t enough to prevent the book from being banned from school libraries in Randolph County, N.C.
Interesting – because prior to now, I don’t remember seeing anywhere that Condo talked about any of this. Condo’s father was not in the Civil Rights Movement, choosing instead to take a back seat. The ethics of that are up to debate…
As well as Condo’s ethics in working for the Bush Administration. While I don’t believe there is any evidence that GW is a bigot, there is more than a little evidence that some of the folks he brought to Washington were and are. The nuances of whether she could have done more not taking the job, or accomplished more by taking the job are also open to debate. Calling Condo a latter day Hattie McDaniels is unfair. Calling her a failure because of her role in a failed Presidency..isn’t.
I think this reaction is because of he Trayvon Martin murder. Like the George Zimmerman trial, initial efforts to convict the murderers were stymied, with the first conviction not coming for another 14 years, with others not being convicted until 30 years later. Justice in some parts of America moves much more slowly for some people.
When a church bombing killed four young black girls on a quiet Sunday morning in 1963, life for a young Condoleezza Rice changed forever.
The racial attack on the 16th Street Baptist Church, in the former secretary of state’s hometown of Birmingham, Alabama, rocked the nation and led to sweeping changes in laws governing civil rights.
But for Rice, just 8 years old at the time, the tragedy meant the death of a little girl she used to play dolls with, and the loss of her own youthful sense of security.
“As an 8-year-old, you don’t think about terror of this kind,” said Rice, who recounted on Friday her memory of the bombing and its aftermath in remarks to a gathering of civic leaders in Birmingham as part of several days of events leading up to the 50th anniversary of the bombing on Sept. 15.
Rice’s hometown had become a place too dangerous for black children to leave their own neighborhoods, or go downtown and visit Santa Claus, or go out of the house after dark.
“There was no sanctuary. There was no place really safe,” she said.
Rice’s friend, 11-year-old Denise McNair, died in the blast along with 14-year-olds Carole Robertson, Addie Mae Collins and Cynthia Wesley. Their deaths at the hands of Ku Klux Klan members garnered national support for passage of the Civil Rights Act of 1964.
Events for the 50th anniversary of the bombing will include a screening of filmmaker Spike Lee’s new documentary, “Four Little Girls,” and a memorial service on Sunday scheduled to include U.S. Attorney General Eric Holder.
Rice has a treasured photo of her friend accepting a kindergarten certificate from Rice’s father, who was a pastor at another church. McNair had gone to preschool there. McNair’s father was the community photographer, documenting birthday parties and weddings in happier times.
“Everyone in the black community knew one of those girls,” Rice said.
Her father told her the bombing had been done by “hateful men,” she said, but it was an act that later uncovered something ultimately good.
“Out of great tragedy, people began to recognize our humanity, and it brought people together,” said Rice.
The bombing left its mark on her even as an adult, when as U.S. Secretary of State under President George W. Bush, she used the experience to understand the plight of Palestinian and Israeli victims of bombs and attacks during peace negotiations.
“I told them I know what it is like for a Palestinian mother, who has to tell her child they can’t go somewhere,” Rice said, “and how it is for an Israeli mother, who puts her child to bed and wonders if the child will be alive in the morning.”
But with all of the progress made in civil rights during the 50 years since the blast, Rice cites education as the biggest impediment to equality in modern times.
She expressed dismay at racial disparities in the quality of education for minorities and criticized the “soft bigotry of low expectations” in a system she said challenges black students less than others.
“Even racism can’t be an excuse for not educating our kids,” she said. “If a kid cannot read, that kid is done. A child in a bad school doesn’t have time for racism to be eradicated. They have to learn today.”
Filed under: Black History, Domestic terrorism | Tagged: 16th Street Baptist Church, 1963, alabama, American terrorism, Birmingham, bombing, civil rights, Condoleeza rice, conservatives, Denise McNair, Education, KKK, murder, Racism, terrorism | 2 Comments »
This one has the Film Critics atwitter after the Toronto Film Festival. It is a film depiction of the true story of Solomon Northup, born a free man, who was abducted and enslaved in the pre-Civil War US. Unlike the fictitious Django – the film is based on a book on the real-life experiences of the author, Solomon Northup, by the same name. The book is the 1853 autobiography of Solomon Northup, a free black man who was kidnapped in Washington D.C in 1841 and sold into slavery. He worked on plantations in the state of Louisiana for 12 years before his release.
The other big plus to this one, is that it sticks to historical truth – unlike The Butler, where the Director chose to “spice up” the story, having the central character born in Georgia – instead of Virginia. Met Mr Allen at a Christmas Party at the White House in 1976. I remember him distinctly because of being introduced by a family friend ho was a chef there – and a conversation about the “honesty” and racial feelings of the various Presidents he had served under to that time with the Master chef. Now – gay people may have “gaydar” – but black folks have “racedar” – that is reading the body language and reactions of a white person they interact with. One of the things Allen said was to keep an eye on whether when then new President Carter came downstairs to greet the staff, whether he looked them in the eye while shaking hands (or even shook their hands, which Nixon would not do). He then went on to say that despite the common belief that Eisenhower hated black folks – when he shook your hand he looked you straight in the eye regardless of race. which said a lot more about the man than any Monday morning quarterbacks in the press. I broke into the conversation and asked him which did… And which didn’t. He told me a story totally confounding my then 70′s belief set.
I think back on that brief conversation and recall a quote from Martin Luther King…
I wish the movie was about that.
And unlike the movie – NO – Ronald Reagan was no racist. Although unfortunately several of his senior staff, like Ed Meese, were sheet wearers.
TORONTO – Brad Pitt didn’t say much during the question-and-answer session that followed the Toronto International Film Festival premiere of “12 Years a Slave” on Friday night, just a short comment on why he produced and co-starred in the Steve McQueen period drama.
But, like his turn as an abolitionist-minded maverick amid a group of brutal slaveowners, Pitt spoke volumes as he stood on the stage with cast and filmmakers. “If I never get to participate in a film again,” he said, his voice trailing off as if to imply this would be enough, “this is it for me,” he finally finished.
It’s a sentiment you could imagine the lead cast members –Michael Fassbender, Lupita Nyong’o and of course Chiwetel Eijiofor, standing out amid the standouts — sharing with Pitt. And it’s a sentiment you could imagine the audience feeling. Festivals come and go; movies rise and fade. But once in a great while there’s a film that feels almost instantly, in the room, like it’s going to endure, and change plenty of things along the way. And “12 Years” offers that feeling.
Most narrowly, that’s true on Oscar level. By 9 p.m. Friday night, just six days into September, the film had already become a top contender for various acting, writing and directing prizes, as well as the big prize. You could say that’s premature. But you probably wouldn’t if you sat in the room. (Vulture’s Kyle Buchanan certainly didn’t hold back.)
It’s equally true on a social level. “12 Years” tells the fact-based story of Solomon Northup (Eijiofor), a free man who in 1841 was kidnapped and sold into slavery, and his travails — at once horrifying and surprising, no matter how much you think you’re ready for them — when he is trafficked to a series of Southern plantations for more than a decade.
The movie has many of the hallmarks McQueen has become known for — the meticulous composition, the bold and haunting sequences — but, far more than previous films “Hunger” and“Shame,” it has a galvanizing topicality. (For more on “12 Years” and how it was made see my colleague John Horn’s excellent piece in the Sunday Times.)
It also has the kind of bracing honesty that has always been rare in Hollywood and is even rarer these days, a Hollywood where, if tough issues are taken on at all, it’s under the garb of respectful period drama or easy sentiment.
Slavery is pretty much at the top of that list of tough issues. With films like “Django Unchained” and “Lincoln,“ the subject has have become slightly less taboo in the past few years — but only slightly.“Roots” broke new ground on TV more than three decades ago, yet few have followed in its path. McQueen is finally willing to pick up the trail.
But maybe that feeling of change was most apparent because the movie went beyond its ostensible subject of race and the fight for emancipation. After the screening, several people I was sitting near began comparing the movie, favorably, to other films about race. A worthwhile comparison. But the film also evoked parallels to a more unexpected movie, “Schindler’s List.” Exactly 20 years ago that film paired impressive filmmaking with a wrenching subject, and in so doing achieved something remarkable — used cinema to change the way we view a cataclysmic period we thought we knew. “12 Years” has the power to do the same thing.
As this movie rolls out this fall, people will talk about the questions it raises, about the evolution of race relations, about what it’s saying on the matter of slavery, whether nearly 150 years after the end of the Civil War there is resolution or closure, whether there can ever be resolution or closure.
And there will be, inevitably, a backlash, people who will question the choices McQueen made, will scrutinize whether this detail softpedals the history or that detail overplays it, whether he went too far or not far enough, whether he fetishizes too much or too little.
Mostly, people will talk about slavery in a way they haven’t before because by seeing the film they’ll experience it in a way they never have before. McQueen on Friday summed up his reason for making a movie about slavery thusly: “For me it was a no-brainer. I just wanted to see it on film. I wanted to see that history on film. It was important. It was that obvious. And that’s it,” he said, putting a period on the sentence. But the conversation is only just beginning.
BTx3 is going to see this one. This one strikes a personal chord as part of my own family fought re-enslavement after the Revolutionary War for near 50 years. While no letters or material from those family members still exist (although there are a few pictures), there is ample evidence in court documents from 1790 through 1840 which document the trail… Including 4 court cases where slavers tried to claim various members of he family were escaped slaves. A decades long struggle which by a bit more than just local legend included several killings.
Filed under: Black History | Tagged: 12 years a slave, American, American History, book, Chiwetel Eijiofor, film festival, History, michael fassbender, Movie, osca, reviews, slavery, steve mcqueen | Leave a Comment »
The Marching 100 returned yesterday to a Half Time show between FAMU and Mississippi Valley State. It’s reputation as one of the elite Marching Band units at the College level is sadly tarnished, and it’s reputation as an HBCU tradition is at it’s lowest point. Hopefully the new School President, Band Leader, and students can return the unit, and the traditions it represented before the scandal back to the heights the band once enjoyed.
Twenty-two months after Florida A&M University’s band was suspended in the wake of a hazing death of a drum major, it was back on the field Saturday, performing at the season-opener against Mississippi Valley State.
The Marching 100 was not allowed to perform after Robert Champion collapsed and died after a hazing ritual on a bus in November 2011. That suspension was lifted in June, after the resignation of the band’s longtime director and the university president.
The scandal resulted in charges of manslaughter and felony hazing being placed against 15 former band members. Seven have made plea deals, another has a deal but has not been sentenced and the other seven await trial, according to the Associated Press.
The parents of the hazing victim, who have filed wrongful death lawsuits against FAMU and the bus company, told the AP that they believed the return of the band was “too soon.”
“I don’t see anything that’s different to ensure the safety of those students,” Pam Champion said. “Everything that has been put in place is not something that was done voluntarily.”
Larry Robinson, the university’s interim president, announced the decision to strike up the band, saying it would be “a model of excellence for other bands across this nation. It will actually focus on its founding principles of character, academics, leadership, marching and service.”
On Saturday, the band was back on the field at Orlando’s Citrus Bowl.
Many of the boys sent to the Dozier School for Boys were black. Caught up in Florida’s Jim Crow justice system of the time.
Investigators have been given permission to exhume remains found at the notorious Arthur G Dozier School for Boys in Florida, which closed in 2011 following pupils’ revelations of widespread physical and sexual abuse.
Governor Rick Scott and the rest of Florida’s cabinet voted unanimously on Tuesday to allow dozens of unmarked graves found in woods near the school to be opened up. The decision comes after a team of researchers found evidence of almost 100 deaths at the institution.
“We are not exactly sure what happened there, but we know it was not good,” Florida attorney general Pam Bondi said during Tuesday’s meeting. “It’s something we as Floridians can’t ignore.”
The University of South Florida was commissioned to look into deaths at the Dozier School, in the panhandle city of Marianna after the Florida Department of Law Enforcement announced the presence of 31 grave sites in 2010.
A team of anthropologists and archaeologists found that 45 people had been buried on school grounds between 1914 and 1952, with 31 bodies sent elsewhere for burial. There were 22 more cases in which no burial site was listed.
Of the 98 deaths they confirmed, two were adult staff members and the rest children aged from six to 18.
Many of the graves were unmarked and had been lost in the woods under brush and trees.
Teams of searchers recovered human bones from the sands of Florida Panhandle woodlands on Saturday in a “boot hill” graveyard where juveniles who disappeared from a notorious reform school more than a half-century ago are believed to have been secretly buried.
“We have found evidence of burial hardware – hinges on coffins,” said Dr. Christian Wells, an anthropologist from the University of South Florida, in a briefing about a mile from the closed excavation site near the former Arthur G. Dozier School for Boys.
“There appear to be a few pieces associated with burial shrouds, and there are pins consistent with the 1920s and 1930s, – based on the style of the pins – and they appear to be brass,” he said.
Some “large-bone fragments” were found on the first day of digging, Wells said. They were human bones, he added, but it was impossible to know if they came from any of the teenaged boys who were housed at Dozier during its infamous 111-year existence. The school was closed in mid-2011.
The bones will be examined in laboratories at the University of South Florida and the University of North Texas, as part of a program funded by the U.S. Department of Justice and state of Florida.
After forensic investigators, using ground-piercing radar and old public records, detected 31 spots showing possible human remains, researchers planted crude white crosses on a nearby hillside to commemorate the unaccounted-for boys.
Some former residents of Dozier, now in their 60s and 70s, have told of brutal beatings and boys – mostly black juveniles – disappearing without explanation more than 50 years ago. Blood relatives of some of the boys have given DNA samples, to be matched against evidence taken from the skeletal remains.
Earlier on Saturday, Dr. Erin Kimmerle, a forensic anthropologist from USF, met with some family members and survivors.
“We’re approaching it much like you would an archeological excavation,” Kimmerle said. “It’s all done carefully and by hand.”
‘Never had a chance’
Tananarive Due, who came to the dig with some family members, said her great-uncle, Robert Stephens, died at the school in 1937.
“The story was … he tried to run away at one point,” she said. “The official cause of death was a stabbing by another inmate, that’s what it was listed as. But with so many of these boys, who knows how they died? Their families never had a chance to say ‘good-bye’ to their loved ones.”
Johnny Lee Gaddy, 67, said he was locked up from 1957 to 1961 for truancy. He said he was severely beaten, but in his teens became a good farm worker, hoping to get released.
Gaddy said he had heard of teens disappearing without explanation.
“I know some they said went home, but they hadn’t been here long enough to go home,” Gaddy said. “They said some others ran away or were transferred to other places. We never saw any bodies or funerals.”
John Due, father of Tananarive, said descendants and civil-rights activists who pressed the state for disclosure of what happened to the young men ran into rigid resistance from authorities for decades.
“People didn’t want to talk about it, and we found that particularly among black families,” he said. “That’s what racism does. It beats you down and you think you don’t matter, so you won’t speak up.”
The forensic teams will work through Tuesday. Remains that can be identified will be re-interred at family plots and any unidentified remains will be numbered and buried – with records kept for later return to families, if any come forward.
One of the oddities of being black in America, is that while our ancestor published a number of books, almost none of them detailing anything about our History seem to be available anywhere until those written in the mid to late 60′s. We got erased from the History of America much the same way Jewish people were led to the ovens by the Nazis…
With nary a whimper.
Where I grew up the “black High School” which the State of Virginia graciously finally got around to building in 1954 was named after a black Historian – Dr. Luther P. Jackson.
Luther Porter Jackson was an African American historian and one of Virginia’s most important civil rights activists of the 1930s and 1940s. He was a professor of history at Virginia State College in Petersburg for nearly thirty years and authored Free Negro Labor and Property Holding in Virginia, 1830–1860 (1942), research that challenged stereotypes of antebellum blacks. Jackson was perhaps most important, however, as a political and social activist. He helped found the Petersburg League of Negro Voters in 1935, wrote a weekly newspaper column titled “Rights and Duties in a Democracy,” and worked to challenge segregation in Richmond’s public transit system.
So a lot has been lost through the years.
Now…As to Bass Reeves…
More than a century before Johnny Depp wore a terrifying crow headpiece in new Disney film “The Lone Ranger,” another hero of the Wild West was carefully arranging his own remarkable disguise.
Sometimes he dressed as a preacher, at other times a tramp, and occasionally even a woman.
But beneath the elaborate costumes was always Bass Reeves — a 19th-century Arkansas slave who became a legendary deputy U.S. marshal, capturing more than 3,000 criminals with his flamboyant detective skills, super strength and supreme horsemanship.
Sound familiar? As one historian argues, Reeves could have been the real-life inspiration behind one of America’s most beloved fictional characters — the Lone Ranger.
“Many of Reeves’ personal attributes and techniques in catching desperadoes were similar to the Lone Ranger,” says Art Burton, author of “Black Gun, Silver Star: The Life and Legend of Frontier Marshal Bass Reeves.“
“He was bigger than the Lone Ranger — he was a combination of the Lone Ranger, Sherlock Holmes and Superman,” Burton told CNN. “But because he was a black man his story has been buried. He never got the recognition he deserved.”
It’s a world apart from the fictional Lone Ranger, who remains one of most the iconic Wild West heroes of the 20th century.
First appearing on a Detroit radio station in 1933, the masked man on a white stallion who brought bad guys to justice was hugely successful, with the series running for over two decades. It spawned novels, comic books and an eight-year TV show starring the most iconic Lone Ranger of all — actor Clayton Moore.
Indeed, Disney’s new film — featuring Armie Hammer as the Lone Ranger and Johnny Depp as his trusty native American Indian sidekick Tonto — is just the latest in a long line of films depicting the legendary lawman.
So what’s that got to do with Bass Reeves — one of the country’s first African American marshals, who was born almost 100 years before the Lone Ranger made his radio debut?
Quite a lot, argues Burton, pointing to similarities such as their gray horses, penchant for disguises, use of American Indian trackers, and unusual calling cards — Reeves gave folks a silver dollar to remember him by, while the Lone Ranger left silver bullets.
As for the iconic black mask, the link is more symbolic. “Blacks at that time wore an invisible mask in a world that largely ignored them — so in that societal sense, Reeves also wore a mask,” said Burton, a lecturer at South Suburban College in Illinois.
“When the Lone Ranger first started appearing in comic books he wore a black mask that covered his entire face. Why would they do that? There was deep physiological connection going on.”
Then there’s the Detroit link. Many of the thousands of criminals captured by Reeves were sent to the House of Corrections in Detroit — the same city where the Lone Ranger character was created by George Trendle and Fran Striker.
“It’s not beyond belief that all those felons were talking about a black man who had these attributes and the stories got out,” said Burton. “I haven’t been able to prove conclusively that Reeves was the inspiration for the Lone Ranger, but he was the closest person in real life who had these characteristics.”…
Racism in South America is a lot different than in the US… The US is just catching up to it.
Elegant in tuxedos and white gloves, the six black pallbearers silently and gracefully remove the mahogany coffin bearing a Lima tire magnate from his mansion. They slide it into the Cadillac hearse that will parade Jorge Reyna’s body through the Chorrillos district where he was once mayor.
The pallbearers are in the job precisely because of the color of their skin, a phenomenon unique to this South American capital that was the regional seat of Spain’s colonial empire for more than three centuries. In fact, prominent citizens such as Reyna, a widely respected, charitable man of indigenous origin who died at age 82, request black pallbearers for their funerals.
“He planned his funeral and wanted it to be elegant,” said Reyna’s widow, Clarisa Velarde.
Blacks routinely bear the caskets of ex-presidents, mining magnates and bankers to their tombs in Lima. The peculiar tradition exists neither in provincial Peruvian cities nor in other Latin American countries with significant black populations such as Brazil, Panama and Colombia.
It is not a profession chosen by Lima’s blacks but is rather thrust upon them by a lack of opportunity, say Afro-Peruvian scholars. And racism remains so deeply ingrained in Peru that many don’t consider the practice discriminatory.
“Beyond the question of racism or prejudice, I think it is simply a question of employment,” said Jose Campos, a leading Peruvian black studies scholar and vice rector of the National Education University.
For 61-year-old Armando Arguedas, who like his fellow pallbearers never finished elementary school, it’s simply a job.
“Some people are friendly,” he said of those who employ him. “Some don’t even say thank you.”
Black pallbearers were even used for the recent funeral of the wife of former U.N. Secretary-General Javier Perez de Cuellar. (more…)
Those of you old enough may remember movie characters ”Coffin” Ed Johnson and “Gravedigger” Jones in the Blaxploitation flick “Cotton Comes to Harlem” based on a series of books by Chester Himes…
Fans of the genre also remember Clint Eastwood as “Dirty Harry”.
Turns out both of those films and roles were likely based after a black cop in Chicago, nicknamed “Two Gun Pete”, AKA Sylvester Washington.
The legend of “Two-Gun Pete,” the cold-blooded cop who shot at least nine men dead on the South Side, began with a gun battle eight decades ago.
Just six months into his rookie year in April 1934, he caught 27-year-old Ben Harold red-handed during an armed robbery near 51st and State streets. What followed was a shootout that brought several bullets dangerously close to the young stockyard-worker-turned-policeman.
When the smoke cleared, four of the cop’s five shots had hit their mark, tearing through Harold’s torso. He staggered several steps before falling dead in a doorway.
After nearly emptying his six-shooter, Pete started carrying a second handgun for backup. He eventually swapped his .38-caliber revolvers for more powerful .357 Magnums, and his reputation grew.
Though he was one of the deadliest police officers in Chicago history, few people without a longtime South Side connection have ever heard of Two-Gun Pete, or the enigmatic man behind the nickname, Sylvester Washington.
The Tribune set out to bring his story to a wider audience, separating facts from myth. The newspaper examined official records, talked to police veterans who knew him, and interviewed his third wife, who was a DuSable High School student when they secretly wed in the 1960s. The Tribune also found a woman who says she owns one of Washington’s guns.
Two-Gun started as an anonymous bluecoat walking a beat, but he ended up as a ghetto superstar — a flamboyant, crooked, braggadocious, womanizing, hard-drinking, foul-mouthed police detective.
He was tasked with clearing out bad elements from every nightclub, flophouse and pool hall in what was then called Black Metropolis, a South Side community mired in poverty and violence, yet bouncing to a jazzy beat.
Washington spent most of his career working out of the old Wabash Avenue police station at 48th Street and Wabash Avenue. By the mid-1940s, his 5th District, with a population of 200,000, led the city in slayings, robberies and rapes, and was nicknamed the “Bucket of Blood.”
But the mention of Two-Gun Pete’s name could clear a street corner in seconds.
“Everybody knew Sylvester Washington,” said Rudy Nimocks, a former deputy police superintendent. “They knew his car. And the prostitutes would go hide someplace when they saw him. He was something else.”
Facing criticism that police were failing to protect black residents, Chicago’s top brass looked to Washington and other tough black cops to get ahold of crime. But the bosses may have made a pact with the devil, entrusting citizens’ safety to a profoundly violent man.
“He was the meanest, cruelest person that I have ever seen in my entire life,” said his third wife, Roslyn Washington Banks.
Pete augmented his fierce reputation with the tools of his trade: a nightstick and meaty hands that he used to slap grown men to the ground like small children.
And there were his sidearms — pearl-handled .357 Magnum revolvers. One had a long barrel, the other a short barrel. Each pistol was holstered in its own belt around his hips, both pearl handles pointing right for the right-handed gunslinger.
“I seldom miss the mark with them,” Washington bragged to Ebony magazine. “I can put 14 bullseyes into a target out of 15 shots, and have made a marksmanship record of 147 out of a possible 150.”
Police officials told the newspapers that Pete had gunned down nine men by 1945. He later claimed the career total was 11. And even later, he added one more body to the pile, telling a young reporter named Mike Royko: “I kept my own count and I counted 12.”
Depending on which number is accurate, Pete was either the deadliest police officer in Chicago history or tied with Frank Pape, a North Side cop who started on the force three months before Pete and killed nine men… more
One of the biggest lies told you in school is about “America being the land of opportunity for immigrants”. It’s a lie because before 1965 immigration from non-white parts of the world was illegal. Many of the Chinese who came here to work on the Transcontinental Railroad in the 19th Century, were boxed up and shipped back to China as soon as the railroad was finished.
In terms of “non-whiteness” the Irish were only brought here in the 1840′s through 1870′s because they were cheaper than slaves, and made excellent cannon fodder during the Civil War. Black folks and Irish competed, and often worked for and on the same low paying dirty jobs, from digging coal mines, to ditch digging. That competition was sometimes not friendly – as demonstrated in the New York City Draft Riots during the Civil War, and later during the early Labor Union period of the 1900′s. But there is a pretty rich history between the two groups, certainly not all antagonistic.
South Asia was particularly singled out by American Immigration authorities, which is why few South Asians can trace their history in the US back more than 50 years. But some Indians and what would later become Pakistanis did come here nearly 150 years ago. They stayed here, they married, and raised families. A fascinating book (next on my loyal Kindle) uncovers this previously unknown and ignored bit of history…
In the next few weeks, Fatima Shaik, an African-American, Christian woman, will travel “home” from New York to Kolkata, India.
It will be a journey steeped in a history that has remained unknown until the publication last month of a revelatory book by Vivek Bald. And it will be a journey of contemplation as Shaik, 60, meets for the first time ancestors with whom she has little in common.
“I want to go back because I want to find some sort of closure for my family, said Shaik, an author and scholar of the Afro-Creole experience.
That Americans like Shaik, who identify as black, are linked by blood to a people on the Indian subcontinent seems, at first, improbable.
South Asian immigration boomed in this country after the passage of landmark immigration legislation in 1965. But long before that, there were smaller waves of new Americans who hailed from India under the British Empire.
The first group, to which Shaik’s grandfather, Shaik Mohamed Musa, belonged, consisted of peddlers who came to these shores in the 1890s, according to Bald. They sold embroidered silks and cottons and other “exotic” wares from the East on the boardwalks of Asbury Park and Atlantic City, New Jersey. They eventually made their way south to cities like New Orleans and Atlanta and even farther to Central America.
The second wave came in the 1920s and ‘30s. They were seamen, some merchant marines.
Most were Muslim men from what was then the Indian province of Bengal and in many ways, they were the opposite of the stereotype of today’s well-heeled, highly educated South Asians.
South Asian immigration was illegal then – the 1917 Immigration Act barred all idiots, imbeciles, criminals and people from the “Asiatic Barred Zone.”
The Bengalis got off ships with little to their name. (more…)