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YOU ARE THE REASON
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@whatthefmag
That she did not like her daughter, a female, was so normal that it would have been noticed only if it had been otherwise: to people like us, despising anything that was most like ourselves was almost a law of nature.
Jamaica Kincaid, The Autobiography of My Mother, p52, 1996. (via almost-feminist-af)
Success is liking yourself, liking what you do, and liking how you do it.
Maya Angelou (via may-amber-2002)
My mother said I must always be intolerant of ignorance but understanding of illiteracy. That some people, unable to go to school, were more educated and more intelligent than college professors.
Maya Angelou (via wordsnquotes)
‘The Ghetto Tarot’ - Haitian artist group, Atis Rezistans, re-creates the classic tarot deck into scenes, people and locations from their native Haiti.
(Source)
Celebrating the Social Impact and Technique of Jordan Casteel’s Art
This week, we’ll be sharing the stories of African-American community members in celebration of #BlackHistoryMonth, which runs throughout February in the US.
Vulnerability, openness, humanity — these are the qualities Jordan Casteel (@jordanmcasteel) offers in every brush stroke. Her work invites the viewer to confront the ways her community is represented. “I have a twin brother and an older brother,” says the New York-based artist. “They’re the ones who continually inspire my practice around black men in particular, because I always felt keenly observant of my surroundings and the way they were experiencing the world.”
Her family is rooted in social justice – her grandfather, Whitney Moore Young, Jr., was a central figure in the US civil rights movement – and his legacy has been ever-present in her life and in her work. “It is important to me that within my practice, people recognize me not only for the social impact of this work, but just the sheer degree of strength of material, color play and technique,” says Jordan. “I am not just a painter of people and stories. Within that, I’m also implementing myself as a black woman into a history that has for centuries negated my story, or not seen it as being as impactful or masterful.”
Is it weird how we say “April fools day” instead of just “Fool’s Day” as if there’s another month of the year with a different Fool’s day
HUFFLEPUFF: “Hoping for the best, prepared for the worst, and unsurprised by anything in between.” –Maya Angelou (I Know Why the Caged Bird Sings)
100 Years of Beauty in Palestine and Israel Shown Decade by Decade in a Chronological Timelapse
Our new large Boss Bitch stickers are in, and they’re fantastic.
For all of our friends attending marches and protests this weekend! 💗
Hasan Minhaj on people who support Donald Trump despite his bigotry.
In two GIFs, this is one of the realities of Trump’s election.
What’s her name
Candice Bridge
http://atlantablackstar.com/2016/12/05/howards-first-black-female-chemistry-instructor-earns-324k-grant-to-research-rape-investigation-methods/
Do you know how fucking hard it is to get a grant that big?!?!?!? Boost tf out of this. Proud of u.
People are often amazed by the fact that an elephant can be scared of a mouse, yet I know so many people who are afraid of insects
My classes are like a high level Dora the Explorer episode. Person up front asks a question, stares at you blankly for a few seconds, and then answers their own question.
Jon Stewart delivers some brutally honest breakup advice to the media on Donald Trump
Oscar’s First Black Winner Accepted Her Honor in a Segregated ‘No Blacks’ Hotel in L.A.
“On a February afternoon in 1940, Hattie McDaniel — then one of the biggest African-American movie stars in the world — marched into the Culver City offices of producer David O. Selznick and placed a stack of Gone With the Wind reviews on his desk. The Civil War epic, released two months earlier, had become an instant cultural sensation, and McDaniel’s portrayal of Mammy — the head slave at Tara, the film’s fictional Southern plantation — was being singled out by both white and African-American critics as extraordinary. The Los Angeles Times even praised her work as “worthy of Academy supporting awards.” Selznick took the hint and submitted the 44-year-old for a nomination in the best supporting actress category, along with her co-star, Olivia de Havilland, contributing to the film’s record-setting 13 noms.“
Read the full piece here
“McDaniel then was escorted, not to the Gone With the Wind table - where Selznick sat with de Havilland and his two Oscar-nominated leads, Vivien Leigh and Clark Gable - but to a small table set against a far wall, where she took a seat with her escort, F.P. Yober, and her white agent, William Meiklejohn. With the hotel’s strict no-blacks policy, Selznick had to call in a special favor just to have McDaniel allowed into the building (it was officially integrated by 1959, when the Unruh Civil Rights Act outlawed racial discrimination in California).”
Hollywood’s highest honor couldn’t stave off the indignities that greeted McDaniel at every turn. White Hollywood pigeonholed her as the sassy Mammy archetype, with 74 confirmable domestic roles out of the IMDb list of 94 (“I’d rather play a maid than be a maid,” was her go-to response). The NAACP disowned her for perpetuating negative stereotypes. Even after death, her Oscar, which she left to Howard University, was deemed valueless by appraisers and later went missing from the school — and has remained so for more than 40 years. Her final wish - to be buried in Hollywood Cemetery - was denied because of the color of her skin.
Even after World War II, she continued to play underwritten maid parts in such films as 1946’s Song of the South, Walt Disney’s adaptation of the Uncle Remus stories, now considered a rare racist blot on the studio’s legacy. In her final years, McDaniel found success on the radio, taking over in 1947 from Bob Corley — a white voice actor who mimicked an African-American woman — as the title character in Beulah, a hit comedy series about a live-in maid. It was the first time an African-American woman starred in a radio show, earning McDaniel $1,000 a week. She was cast in the TV version ofBeulah in 1951 but shot only six episodes before falling ill.”
Read the full piece here
Honoring Hattie McDaniel, who got so much less than her talent deserved.
Also, a reminder that racial segregation was legal in California until 1959.
Movies have fooled people into thinking evil announces its presence
