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Below: A rare, original Civil Rights era flyer/poster from the Black Panthers, offering free hot breakfast for black children every school morning in Berkeley, California.
In the same time period, in Washington, D.C., a high-ranking law enforcement official described the Panthers as the "greatest thre@t" to the country.
In using the phrase the "greatest thre@t," was Director J. Edgar Hoover, who is on record detesting the Panthers and what they stood for, referring to the media image of the Panthers with we@pons, or a concern that educated, healthy black boys would one day become educated, healthy black men?
There are no other copies of this approximately five decades old flyer known to exist.
Thrifted both for $10: a 1970s kids chair with a distorted blackf@ce image and a vibrant painting of a woman with natural hair.
One shows how casually stere0types were provided to children. The other celebrates women like Melba Tolliver and @ShebaTurk who have faced challenges and still insisted on regularly wearing their hair naturally as television news reporters and anchors.
How much has the underlying sentiment responsible for the second image of a beautiful black woman’s vibrant afro actually replaced the underlying sentiment responsible for the image on the childs chair?
Less than a week after seeing a larger-than-life representation of black women’s natural (albeit blue) hair (a San Francisco street artwork called “Sheba 3”; the red, white and blue image), two more visualizations/interpretations crossed my path—one ugly and one beautiful—while thrift shopping last night. I purchased both pieces for about $10.
Starting with the ugly. Based upon early research, the kids chair was likely produced in the 1960s or early 1970s by a company that had a manufacturing plant in Alabama. The image on the seat is stereotypical bl@ckface. Kids (probably not black kids) literally sat on a distorted image of a black girl during their formative years. These kids would now be adults in their mid 50s. Could these kids have matured and left behind the r@cism their parents obviously engaged in, as evidenced by them purchasing a chair like this?
The painting, acquired the same night as the chair at a different Goodwill, is clearly more modern and a 180 degrees different representation than that of the chair. Vibrant colors embrace the afro of a beautiful black woman. (Please do not infer that black women cannot be beautiful without wearing their hair naturally.)
I highlight and celebrate public women like Melba Tolliver, the first black anchor on national television. She wore an afro on air at a White House event in the 1970s despite her bosses telling her not to. I highlight and celebrate a modern day anchor at CBS Los Angeles, Sheba Turk, who was disparaged earlier in her career by some viewers for wearing her hair in a natural.
I do this to combat the negative images of black women that refuse to completely go away. Manufactured caricatures—like the one on the kids chair—are a reminder that not that long ago images like this were mass produced—affecting children who are now adults. And a reminder that there is more work to be done.
Unblock History retweeted
Less than a week after seeing a larger-than-life representation of black women’s natural (albeit blue) hair (a San Francisco street artwork called “Sheba 3”; the red, white and blue image), two more visualizations/interpretations crossed my path—one ugly and one beautiful—while thrift shopping last night. I purchased both pieces for about $10.
Starting with the ugly. Based upon early research, the kids chair was likely produced in the 1960s or early 1970s by a company that had a manufacturing plant in Alabama. The image on the seat is stereotypical bl@ckface. Kids (probably not black kids) literally sat on a distorted image of a black girl during their formative years. These kids would now be adults in their mid 50s. Could these kids have matured and left behind the r@cism their parents obviously engaged in, as evidenced by them purchasing a chair like this?
The painting, acquired the same night as the chair at a different Goodwill, is clearly more modern and a 180 degrees different representation than that of the chair. Vibrant colors embrace the afro of a beautiful black woman. (Please do not infer that black women cannot be beautiful without wearing their hair naturally.)
I highlight and celebrate public women like Melba Tolliver, the first black anchor on national television. She wore an afro on air at a White House event in the 1970s despite her bosses telling her not to. I highlight and celebrate a modern day anchor at CBS Los Angeles, Sheba Turk, who was disparaged earlier in her career by some viewers for wearing her hair in a natural.
I do this to combat the negative images of black women that refuse to completely go away. Manufactured caricatures—like the one on the kids chair—are a reminder that not that long ago images like this were mass produced—affecting children who are now adults. And a reminder that there is more work to be done.
All hair the Queens. Two of New Orleans finest being true to their roots.
Less than a week after seeing a larger-than-life representation of black women’s natural (albeit blue) hair (a San Francisco street artwork called “Sheba 3”; the red, white and blue image), two more visualizations/interpretations crossed my path—one ugly and one beautiful—while thrift shopping last night. I purchased both pieces for about $10.
Starting with the ugly. Based upon early research, the kids chair was likely produced in the 1960s or early 1970s by a company that had a manufacturing plant in Alabama. The image on the seat is stereotypical bl@ckface. Kids (probably not black kids) literally sat on a distorted image of a black girl during their formative years. These kids would now be adults in their mid 50s. Could these kids have matured and left behind the r@cism their parents obviously engaged in, as evidenced by them purchasing a chair like this?
The painting, acquired the same night as the chair at a different Goodwill, is clearly more modern and a 180 degrees different representation than that of the chair. Vibrant colors embrace the afro of a beautiful black woman. (Please do not infer that black women cannot be beautiful without wearing their hair naturally.)
I highlight and celebrate public women like Melba Tolliver, the first black anchor on national television. She wore an afro on air at a White House event in the 1970s despite her bosses telling her not to. I highlight and celebrate a modern day anchor at CBS Los Angeles, Sheba Turk, who was disparaged earlier in her career by some viewers for wearing her hair in a natural.
I do this to combat the negative images of black women that refuse to completely go away. Manufactured caricatures—like the one on the kids chair—are a reminder that not that long ago images like this were mass produced—affecting children who are now adults. And a reminder that there is more work to be done.
Less than a week after seeing a larger-than-life representation of black women’s natural (albeit blue) hair (a San Francisco street artwork called “Sheba 3”; the red, white and blue image), two more visualizations/interpretations crossed my path—one ugly and one beautiful—while thrift shopping last night. I purchased both pieces for about $10.
Starting with the ugly. Based upon early research, the kids chair was likely produced in the 1960s or early 1970s by a company that had a manufacturing plant in Alabama. The image on the seat is stereotypical bl@ckface. Kids (probably not black kids) literally sat on a distorted image of a black girl during their formative years. These kids would now be adults in their mid 50s. Could these kids have matured and left behind the r@cism their parents obviously engaged in, as evidenced by them purchasing a chair like this?
The painting, acquired the same night as the chair at a different Goodwill, is clearly more modern and a 180 degrees different representation than that of the chair. Vibrant colors embrace the afro of a beautiful black woman. (Please do not infer that black women cannot be beautiful without wearing their hair naturally.)
I highlight and celebrate public women like Melba Tolliver, the first black anchor on national television. She wore an afro on air at a White House event in the 1970s despite her bosses telling her not to. I highlight and celebrate a modern day anchor at CBS Los Angeles, Sheba Turk, who was disparaged earlier in her career by some viewers for wearing her hair in a natural.
I do this to combat the negative images of black women that refuse to completely go away. Manufactured caricatures—like the one on the kids chair—are a reminder that not that long ago images like this were mass produced—affecting children who are now adults. And a reminder that there is more work to be done.
Before Ms. Harvey (reigning news queen) and Ms. Turk (in my opinion, an heir apparent), there was Ms. Melba Tolliver. She worked hard and became the first black American to anchor network news. It was not easy; she faced conflict by just trying to be herself. For example, she insisted on wearing her hair in a natural afro when covering the White House wedding of Tricia Nixon, which earned retaliation from her news bosses.
Ms. Tolliver is now 86 years old and I am proud and humbled to add this rare, signed copy of her memoir “Accidental Anchorwoman” to my collection. The prior owner may not have known what they had—the historic piece just arrived in the mail today.
Pictured: Certified platinum award plaque for Ice Cube’s second album “Death Certificate”
Released on October 29, 1991, “Death Certificate” marked a defining moment in the evolution of politically conscious hip-hop. Building on the social commentary of his debut album, Ice Cube used “Death Certificate” to examine issues including racism, economic inequality, gang violence, media representation, and black self-determination. Organized into two thematic sections—“The Death Side” and “The Life Side”—the album juxtaposes stark portrayals of life in inner-city L.A. with calls for community empowerment and social change. Although several tracks generated controversy upon release, “Death Certificate” has come to be recognized as one of the most influential and provocative recordings of the early 1990s.
Ms. Harvey @PatHarveyNews, I recently mentioned that you, Jim Hill and @ShebaTurk are my favorite news anchors. I grew up watching Jim Hill’s coverage of the 80’s Lakers with my father (which probably explains my collection of Showtime era memorabilia). As a young man, I watched you cover the tumultuous events of 1992 Los Angeles with professionalism and courtesy shown to the people going through it and living it. I see many of your qualities that allow you to relate to the community in Sheba Turk. The fact that many of my folks are from the South also makes me want to see your friend and colleague, a self-described “catfish and grits kind of girl,” succeed and thrive.
On TV, phone and tablet screens, you, Jim Hill and Sheba Turk have been welcomed into my home and office. And probably like many other viewers/supporters, I watch and stream KHJ, KCAL, CBS Los Angeles (or any future name variations) not because I have some kind of affinity to the channel or catchy new marketing slogans. I watch because of the talent and sincerity that is led by the O.G.’s—you and Jim Hill—and the relative newcomer, Sheba Turk (well…technically most everyone in Los Angeles news would be considered a newcomer relative to you and Jim Hill). Longevity is a blessing; you and Jim Hill have worked a combined 97 years in television news without missing a step.
That amazing number is worth repeating and highlighting; you and Jim Hill have nearly 100 years—a century—of combined, highly acclaimed television news broadcasting experience, almost 90 years of which were dedicated to directly serving the people of Los Angeles; an historic, unprecedented and unrivaled tag team.
Thank you.
Unblock History retweeted
The Museum of Black Women & Girls is a pop-up exhibit at A C Bilbrew library in South LA
It celebrates the contributions of black women to California
Kellie Todd Griffin is the President & CEO of the California Black Women’s Collective Empowerment Institute
She’s behind this exhibit and is doing some important work
Here’s the full segment on @CBSLosAngeles
youtu.be/keZBg-wvS5c?is=HJob…
Unblock History retweeted
HISTORY SAVED!
Truly one of a kind piece: THE ORIGINAL BOYZ N THE HOOD TriStar Studio Proof Poster
An historic and unique movie poster: All subsequent posters in this layout were based upon this one of a kind original studio proof from July 1991.
Showtime Los Angeles Lakers basketball.
Nothing like it before or after.
Pictured here is a real Lakers sample championship ring (enlarged) from four decades ago. These rings were made to sell Lakers management on the design of the ring and are very rare.
🤖 Made with AI
Unblock History retweeted
DMX orignal printer's proof.
Our History. Preserved.
THE @CLYMEL COLLECTION
PRESERVED: 2 original, vintage, mint condition Sade subway posters from the early 1980’s advertising her debut album “Diamond Life.” The album went multi-platinum.
PICTURED: Rick Fox’s signed playoff worn shoes used in the Lakers 2001 NBA Championship run. The “15” written on them represents the number of playoff wins the Lakers had that year, which at the time was the best postseason record in NBA history.
Unblock History retweeted
Thank you so much NOFD for the opportunity to interview Captain Bianca Jones! NOFD’s first African American female fire captain and a fellow @McMainMustangs !🖤 💛 I cannot wait for yall to see this very inspiring interview on #SEAUXNewOrleans!⚜️⚜️
