London teenagers 1975
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London teenagers 1975
London teenagers 1975
Theatrice Bailey attempted to clean blood from the balcony, hours after the 6pm shooting of Martin Luther King.
Bayou Bourbeau plantation, a Farm Security Administration cooperative, vicinity of Natchitoches, La. Three Negro children sitting on the porch of a house
Bayou Bourbeau plantation, a FSA cooperative, Natchitoches, La. A Negro family (?) seated on the porch of a house
"I remember the wade-ins because the bump hasn't gone off my jaw yet. They started yelling obscenities at us, but we went on — myself and a group of teen-age girls. We were afraid but we felt we just had to go on." — Dorothy Cotton, SCLC.
"...Black and 125 other African-Americans had congregated at the beach, playing games and soaking sunrays near the circuit of advancing and retreating tides. This signified no simple act of beach leisure, but group dissent. At the time, the city’s entire 26-mile-long shoreline along the Gulf of Mexico was segregated. Led by physician Gilbert Mason, the black community sought to rectify restricted access by enacting a series of “wade-in” protests. Chaos and violence, though, quickly marred this particular demonstration"
Demonstrators in the wade-in leave Rainbow Beach with police escort on July 9, 1961.
civillyunioned:
Gwenn Craig - San Francisco - August 14Â 1980 (by Gay Freedom Day)
During the Democratic National Convention in 1980.
todaysdocument:
August 3, 1936 - Jesse Owens wins the 100m sprint at the Summer Olympics in Berlin.Â
The Rev. Vondell Gssaway in a bowl of sacred water. Washington. August 1942.
A pin setter. Washington. April 1943.
Decorating a soldier's grave on Memorial Day. Arlington National Cemetery. May 1943.
MALCOLM X: The Price of Freedom is Death
Agenor de Oliveira, known as “Cartola,” renowned Brazilian musician, was born on October 11, 1908 in Rio de Janeiro, Brazil and died on November 30, 1980. From humble origins, Cartola worked at various odd jobs, including the construction industry, where got his nickname after the top hat he wore to work. In 1928, Cartola was one of the founders of Mangueira Samba School, the second organization of its kind in Rio.Â
During the 1930s, Cartola composed and performed sambas for Mangueira, becoming known outside the hill (the slum area around Rio) as various artists became interested in his songs, including Carmen Miranda, the famous Brazilian singer. Mangueiraitself became one of the darling samba schools of cariocas and its parades during Carnival revealed to the city and the country the beauty of Cartola’s compositions.
Nonetheless, between 1948 and 1956, Cartola slipped into oblivion and worked as a doorman. Brazilian writer Sergio Porto brought Cartola to the spotlight again. In the 1960s, with his partner Euzebia Silva do Nascimento, known as Zica, his house again became the center of samba in Rio. Together they opened in 1964 the restaurant Zicartola, a gathering place where samba and (post) bossa nova met. In addition, Cartola and Zica worked tirelessly to make Mangueira better for its people. In 1974, he recorded his first LP, receiving awards and the media recognition he deserved. His song, As Rosas Não Falam (The Roses don’t speak) became a classic. Cartola died of cancer on November 30, 1980, at 72.
Emerging in a time of great political and social change, samba, Cartola’s music genre, represented the possibility of a new national identity – the expression of Brazilian’s essence through a new music form. Blending together elements of European and African origins, Brazilians created their own more open and free rhythm in samba. Therefore, as Afro-Brazilians sought fuller participation in a society itself seeking its own modern character, samba emerged as yet another vehicle for social and political articulation. It is worth noting that Mangueira was created in Rio at the same time an active black press appeared in São Paulo and shortly before the creation of Frente Negra Brazileira (1931), the first Afro-Brazilian organized political movement. In Cartola’s work and life, samba was evidenced in all of its social, political, and cultural force.
When he was only in his 20s Ernest Cole, a black photographer who stood barely five feet tall, created one of the most harrowing pictorial records of what it was like to be black in apartheid South Africa. He went into exile in 1966, and the next year his work was published in the United States in a book, “House of Bondage,” but his photographs were banned in his homeland where he and his work have remained little known.
Finding the unmarked trains designated for blacks involved guesswork. Passengers had to jump across tracks, and some were killed by express trains.Â