View allAll Photos Tagged Segregation
I thought others might appreciate these tidbits of forgotten history of People of Color.
Please feel free to leave any comments or thoughts or impressions. I look forward to reading them!
Racial segregation was still legal in the United States on February 1, 1960, when four African American college students sat down at this Woolworth counter in Greensboro, North Carolina. Politely asking for service at this “whites only” counter, their request was refused. When asked to leave, they remained in their seats. Their sit-in drew national attention and helped ignite a youth-led movement to challenge inequality throughout the South.
In Greensboro, hundreds of students, civil rights organizations, churches, and members of the community joined in a six-month-long protest. Their commitment ultimately led to the desegregation of the F. W. Woolworth lunch counter on July 25, 1960.
Ezell A. Blair Jr. (now Jibreel Khazan), Franklin E. McCain, Joseph A. McNeil, and David L. Richmond were students enrolled at the North Carolina Agricultural and Technical College when they began their protest.
Protests such as this led to the passage of the Civil Rights Act of 1964, which finally outlawed racial segregation in public accommodations.
This is the interior view of the Brentsville School. A one room schoolhouse in the unincorporated area of Brentsville in Prince William County. There was a coal burning stove in the middle of the room. This school house educated children in grades 1-5 within a 3 mile radius with almost all students walking to school. The larger desks were reserved for the older students. Before this school house opened in 1928, the Brentsville Courthouse (next door) was used as a classroom. Students in the Brentsville area attended school here until 1944. Like all public schools of this period, the Brentsville School was segregated.
Courtesy of Dwayne & Maryanne Moyers, Realtors
Mother of the Modern Civil Rights Movement
Mrs. Rosa McCauley Parks (1913–2005). She was tired; her feet ached. The year was 1955 in the month of December when this seamstress was returning home on the Cleveland Street bus in Montgomery, Alabama. She was ordered to give up her seat to a white man. When she remained seated, that simple decision eventually led to the disintegration of institutionalized segregation in the south, ushering in a new era of the civil rights movement.
The Citizens of Dyersburg, Tennessee gratefully acknowledge how far we’ve come and how much better we can be if we step beyond the shackles of the past.
L&C unveiled and dedicated a historical marker honoring education champion Scott Bibb, who fought against segregated schools in Alton from 1897-1908, on June 19, 2017 in front of the Scott Bibb Center in Alton. Photo by Laura Inlow, L&C Media Services
Select "All Sizes" AND "Original Size" to read an article or to see the image clearly.
I thought others might appreciate these tidbits of forgotten history of People of Color.
Please feel free to leave any comments or thoughts or impressions... I look forward to reading them!
L&C unveiled and dedicated a historical marker honoring education champion Scott Bibb, who fought against segregated schools in Alton from 1897-1908, on June 19, 2017 in front of the Scott Bibb Center in Alton. Photo by Laura Inlow, L&C Media Services
Scenes from U Street and Shaw neighborhood, where a dog park, a soccerfield, a skateboard park coexist, together and separately - what micro-segregation looks like
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1)abstraction of grass and dirt to represent the ugliness of segregation, as well as relate back to dogs.
2)Texture that allows the phrase "skip was colorblind" to fade into it. This represents acceptance through low contrast. Skip is not worried about how people appear; they are all "grey" to him.
3)the Phrase "skip was colorblind" is fading into space until it neutralizes. This represents that with the passage of time, humanity realized that segregation is corrupt and morally wrong. Past wounds dissolve over time.
Monroe Elementary, completed in 1927, was one of four segregated black schools operating in Topeka. In 1951 a student of Monroe, Linda Brown, and her father, Oliver Brown, became plaintiffs in a legal battle over racial segregation. The case reached the Supreme Court, where it gained the name Brown v. Board of Education of Topeka. In 1954 the Supreme Court determined that the segregation of schools was unconstitutional. In 1992 the Monroe School was designated a National Historic Landmark. Now it is a National Parks Service site committed to educating the public about this landmark case in the struggle for civil rights.
Credit for the preceding text goes to: www.kansasmemory.org/item/9338
L&C unveiled and dedicated a historical marker honoring education champion Scott Bibb, who fought against segregated schools in Alton from 1897-1908, on June 19, 2017 in front of the Scott Bibb Center in Alton. Photo by Jessie Regot, L&C Media Services Intern
I thought others might appreciate these tidbits of forgotten history of People of Color.
Please feel free to leave any comments or thoughts or impressions. I look forward to reading them!
There is a TV drama forthcoming on WowWow TV on racial discrimination, segregation versus integration issues. Here is a collection of cast members taken in between production shooting. It was perfect weather as well being an unusually warm day (19ºC) for early February. Every one seemed to enjoy themselves, except there was a lot of excess standing, so our legs became quite tired and sore.
Shoot location was Showa Memorial Park near Nishi Tachikawa Station, Tokyo, Japan. Anyone who is a subscriber to Wow Wow and is interested in viewing the movie, please send me a personal message. Cheers…..
本日のプロダクションは人種差別の主テーマとしてWowWowテレビで近い将来に放映する予定です。この写真集は撮影ロケでその番組のキャストメンバーです。天気も最適で最高でした。19ºCは２月の昇順ごろとしてとても例外的です。皆さんは楽しんでいましたが立つことはかなりありましてメンバーの一部の足み疲れてきて痛くなりました。
撮影ロケは西立川の昭和記念公園です。その番組予定の詳細を知りたい場合はメッセージを送って下さい。
"Week Without Walls"
Segregation and Integration in Hayward and San Francisco
Impact Academy of Arts and Technology, MAP Teacher: Joel Key
Impact Academy is a college prep arts and technology high school located in Hayward. In our second year partnering with World Savvy, 25 students and 2 teachers spent one entire week (we call it "Week Without Walls") studying the single topic of Segregation and Integration in Hayward and San Francisco. World Savvy created custom fieldtrips and curriculum to help us with the exploration of the essential question:
“Are Hayward and San Francisco more integrated or more segregated?”
On Day 1, we explored the history of downtown Hayward by visiting the Hayward Area Historical Society and Museum. We also discussed how our different identities affect if we are friends or not.
On Day 2, we explored South Hayward through the World Savvy “Crossing Borders, Looking Local” fieldtrip and looked for signs of mixing between different cultural and racial groups.
On Day 3, we traveled to the Mission in San Francisco and toured with World Savvy and local mural artist and journalist, Josue Rojas. We learned how mural art helped people in the neighborhoods come together in spite of their differences.
On Day 4, we took a World Savvy fieldtrip on the 22 Fillmore Bus all the way through San Francisco to observe the changes in neighborhoods, and then we went on World Savvy’s Little Saigon fieldtrip and by interviewing locals, discovered what the borders of Little Saigon are in the tenderloin and how subjective they can be.
On the last day, we edited our videos of the week into film. Please enjoy watching our film and learning what we think about segregation and integration in Hayward and San Francisco.
The Lorraine Motel is the site of the assassination of civil rights leader, Martin Luther King, Jr. and now home to the National Civil Rights Organization.
In the days of legal segregation, the Lorraine was one of the few hotels in Memphis open to black guests. Its location, walking distance from Beale Street, the main street of Memphis' black community, made it attractive to visiting celebrities. When Louis Armstrong, Sarah Vaughan, or Nat Cole, came to town, they stayed at the Lorraine.
In March 1968, the Reverend Dr. Martin Luther King visited Memphis to support the city's striking garbage collectors. He checked into the Lorraine, and led a march that, despite his policy of non-violence. turned violent. A second march was then planned.
On April 3, in a speech at Memphis Mason Temple, Dr. King said "We've got some difficult days ahead. But it really doesn't matter with me now, because I've been to the mountain top. I won't mind. Like anybody, I would like to live a long life."
Dr. King was assassinated at the Lorraine the next night, as he stood on the balcony outside room 306, on the motel's second floor.
The official account of the shooting named a single assassin, James Earl Ray, who fired one shot from the top floor of a rooming house whose rear windows overlooked the motel.
Many believed that Dr. King was the victim of a conspiracy involving the Memphis police department, the FBI, and the U.S. Army. His opposition to American involvement in the Vietnam war, and plans for massive protests, in the name of his Poor People's Campaign, calling attention to poverty in America, have been cited as reasons.
(excerpted from Tom Sanders, voices.yahoo.com/the-story-lorraine-motel-memphis-14303.h...)
Radha Vaidya distributing plastic bags to school kids in Zari to teach them the importance of waste segregation!
Select "All Sizes" AND "Original Size" to read an article or to see the image clearly.
I thought others might appreciate these tidbits of forgotten history of People of Color.
Please feel free to leave any comments or thoughts or impressions... I look forward to reading them!
The Postcard
A postally unused postcard published pre-1918.
The Vale of Rest
The Vale of Rest (1858–1859) is a painting by John Everett Millais.
The painting is of a graveyard, as night is coming on. Beyond the graveyard wall there is a low chapel with a bell. In the foreground of the scene, there are two nuns – the heads of the two nuns are level and symmetrical.
There is no evidence that they are Roman Catholic nuns. Many of the pre Raphaelite brotherhood would have known of the growing Anglican sisterhoods, some of whose sisters joined Catholic Sisters with Florence Nightingale on her mission to the Crimea.
One of the nuns holds a rosary, and one of the nuns is digging a grave. Her forearm and body strain under the weight of a shovelful of earth. The other, overseeing the work, turns with a look of apprehension and anguish.
Art critic Tom Lubbock said of the painting:
'Graves. Dusk. A walled enclosure. The spooky,
looming trees. Nuns. Catholics (in England then,
still an object of suspicion). Sexual segregation.
Religiosity. Mistress and servant, a power
relationship, maybe some deeper emotional
bondage. Female labour. Something being
buried or exhumed. Twin wreaths. The deep
dark earth. Corpses, secrets, conspiracy, fear.
It's a picture that pulls out all the stops.'
John Everett Millais
Sir John Everett Millais, who was born on the 8th. June 1829, was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood.
He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street (now number 7).
Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1849–50) generating considerable controversy, and he produced a picture that could serve as the embodiment of the historical and naturalist focus of the group, Ophelia, in 1851–52.
By the mid-1850's, Millais was moving away from the Pre-Raphaelite style in order to develop a new form of realism in his art.
His later works were enormously successful, making Millais one of the wealthiest artists of his day, but some former admirers, including William Morris, saw this as a sell-out (Millais notoriously allowed one of his paintings to be used for a sentimental soap advertisement).
While these and early 20th.-century critics, reading art through the lens of Modernism, viewed much of his later production as wanting, this perspective has changed in recent decades, as his later works have come to be seen in the context of wider changes and advanced tendencies in the broader late nineteenth-century art world, and can now be seen as predictive of the art world of the present.
Millais' personal life has also played a significant role in his reputation. His wife Effie was formerly married to the critic John Ruskin, who had supported Millais's early work. The annulment of the Ruskin marriage and Effie's subsequent marriage to Millais have sometimes been linked to his change of style, but she became a powerful promoter of his work, and they worked in concert to secure commissions and expand their social and intellectual circles.
-- John Everett Millais - The Early Years
Millais was born in Southampton of a prominent Jersey-based family. His parents were John William Millais and Emily Mary Millais (née Evermy). Most of his early childhood was spent in Jersey, to which he retained a strong devotion throughout his life.
The author Thackeray once asked him "when England conquered Jersey". Millais replied "Never! Jersey conquered England." The family moved to Dinan in Brittany for a few years in his childhood.
John's mother's forceful personality was the most powerful influence on his early life. She had a keen interest in art and music, and encouraged her son's artistic bent, promoting the relocating of the family to London in order to help develop contacts at the Royal Academy of Art. He later said:
"I owe everything
to my mother."
In 1840, John's artistic talent won him a place at the Royal Academy Schools at the still unprecedented age of eleven. While there, he met William Holman Hunt and Dante Gabriel Rossetti with whom he formed the Pre-Raphaelite Brotherhood (known as the "PRB") in September 1847 in his family home on Gower Street, off Bedford Square.
-- Millais' Pre-Raphaelite Works
Millais's Christ in the House of His Parents (1849–50) was highly controversial because of its realistic portrayal of a working class Holy Family labouring in a messy carpentry workshop.
Later works were also controversial, though less so. Millais achieved popular success with A Huguenot (1851–52), which depicts a young couple about to be separated because of religious conflicts. He repeated this theme in many later works.
All these early works were painted with great attention to detail, often concentrating on the beauty and complexity of the natural world.
In paintings such as Ophelia (1851–52), Millais created dense and elaborate pictorial surfaces based on the integration of naturalistic elements. This approach has been described as a kind of "pictorial eco-system".
Mariana is a painting that Millais painted in 1850–51 based on the play Measure for Measure by William Shakespeare and the poem of the same name by Alfred, Lord Tennyson, from 1830. In the play, the young Mariana was to be married, but was rejected by her betrothed when her dowry was lost in a shipwreck.
-- Millais and Euphemia Gray
John's style was promoted by the critic John Ruskin, who had defended the Pre-Raphaelites against their critics. Millais's friendship with Ruskin introduced him to Ruskin's wife Effie (1828 - 1897).
Soon after they met, she modelled for his painting The Order of Release. As Millais painted Effie, they fell in love. Despite having been married to Ruskin for several years, Effie was still a virgin. Her parents realised something was wrong, and she filed for an annulment.
In 1855, after her marriage to Ruskin was annulled, Effie and John Millais married. He and Effie eventually had eight children. Their youngest son, John Guille Millais, became a naturalist, wildlife artist, and Millais's posthumous biographer.
Their daughter Alice (1862–1936), later Alice Stuart-Worsley, was a close friend and muse of the composer Edward Elgar, and is thought to have been an inspiration for themes in his Violin Concerto.
Effie's younger sister Sophie Gray sat for several pictures by Millais, prompting some speculation about the nature of their apparently fond relationship.
-- Millais' Later works
After his marriage, Millais began to paint in a broader style, which was condemned by Ruskin as "a catastrophe". It has been argued that this change of style resulted from Millais's need to increase his output in order to support his growing family.
Unsympathetic critics such as William Morris accused him of "selling out" to achieve popularity and wealth.
His admirers, in contrast, pointed to the artist's connections with Whistler and Albert Moore, and influence on John Singer Sargent. Millais himself argued that as he grew more confident as an artist, he could paint with greater boldness. In his article "Thoughts on our Art of Today" (1888), he recommended Velázquez and Rembrandt as models for artists to follow.
Paintings such as The Eve of St. Agnes and The Somnambulist clearly show an ongoing dialogue between the artist and Whistler, whose work Millais strongly supported.
Other paintings by Millais from the late 1850's and 1860's can be interpreted as anticipating aspects of the Aesthetic Movement. Many deploy broad blocks of harmoniously arranged colour, and are symbolic rather than narratival.
From 1862, the Millais family lived at 7 Cromwell Place, Kensington, London.
Later works from the 1870's onwards demonstrate Millais's reverence for Old Masters such as Joshua Reynolds and Velázquez. Many of these paintings were on an historical theme. Notable among these are The Two Princes Edward and Richard in the Tower (1878), The Northwest Passage (1874) and the Boyhood of Raleigh (1871).
Such paintings indicate Millais's interest in subjects connected to Britain's history and expanding empire. Millais also achieved great popularity with his paintings of children, notably Bubbles (1886) – famous, or perhaps notorious, for being used in the advertising of Pears soap – and Cherry Ripe.
John's last project (1896) was to be a painting entitled "The Last Trek". Based on his illustration for his son's book, it depicted a hunter lying dead in the veldt, his body contemplated by two onlookers.
-- Millais' Later Career
John's many later landscape paintings usually depict difficult or dangerous terrain. The first of these, Chill October (1870), was painted in Perth, near his wife's family home. It was the first of the large-scale Scottish landscapes that Millais painted periodically throughout his later career.
Usually autumnal and often bleakly unpicturesque, they evoke a mood of melancholy and sense of transience that recalls his cycle-of-nature paintings of the later 1850's, especially Autumn Leaves and The Vale of Rest, though with little or no direct symbolism or human activity to point to their meaning.
In 1870 Millais returned to full landscape pictures, and over the next twenty years painted a number of scenes of Perthshire where he was annually found hunting and fishing from August until late into the autumn each year.
Most of these landscapes are autumnal or early winter in season and show bleak, dank, water-fringed bog or moor, loch, and riverside. Millais never returned to "blade by blade" landscape painting, nor to the vibrant greens of his own outdoor work in the early fifties, although the assured handling of his broader, freer later style is equally accomplished in its close observation of scenery.
Christmas Eve (1887), John's first full landscape snow scene, was a view looking towards Murthly Castle.
-- Millais' Illustrations
Millais was also very successful as a book illustrator, notably for the works of Anthony Trollope and for the poems of Tennyson. His complex illustrations of the parables of Jesus were published in 1864. His father-in-law commissioned stained-glass windows based on them for Kinnoull Parish Church, Kinnoull.
John also provided illustrations for magazines such as Good Words. As a young man, Millais frequently went on sketching expeditions to Keston and Hayes. While there he painted a sign for an inn where he used to stay, near to Hayes church.
-- Millais' Academic Career and Baronetage
Millais was elected as an associate member of the Royal Academy of Arts in 1853; a decade later in 1863, he was elected as a full member of the Academy, in which he was a prominent and active participant.
In July 1885, Queen Victoria created him a baronet, of Palace Gate, in the parish of St. Mary Abbot, Kensington, in the county of Middlesex, and of Saint Ouen, in the Island of Jersey. This make him the first artist to be honoured with a hereditary title.
After the death of Lord Leighton in 1896, Millais was elected President of the Royal Academy.
-- Millais' Death and Legacy
John died in Kensington at the age of 67 on the 13th. August 1896 from throat cancer, and was laid to rest in the crypt of St Paul's Cathedral.
Following his death, the Prince of Wales (later to become King Edward VII) chaired a memorial committee which commissioned a statue of the artist. The statue, by Thomas Brock, was installed at the front of the National Gallery of British Art (now Tate Britain) in the garden on the east side in 1905.
On the 23rd. November 1905, the Pall Mall Gazette called it:
"A breezy statue, representing the
man in the characteristic attitude in
which we all knew him".
In 1953, Tate director Norman Reid attempted to have John's statue replaced by Auguste Rodin's John the Baptist, and in 1962 again proposed its removal, calling its presence "positively harmful".
Reid's efforts were frustrated by the statue's owner, the Ministry of Works. Ownership was transferred from the Ministry to English Heritage in 1996, and by them in turn to the Tate. In 2000, under Stephen Deuchar's directorship, the statue was removed to the side of the building to welcome visitors to the refurbished Manton Road entrance.
In 2007, the artist was the subject of a major retrospective at Tate Britain, London visited by 151,000 people. The exhibition then traveled to the Van Gogh Museum, Amsterdam, followed by venues in Fukuoka and Tokyo, Japan, and seen by over 660,000 visitors in total.
Millais's relationship with Ruskin and Effie has been the subject of several dramas, beginning with the silent film The Love of John Ruskin from 1912. There have also been stage and radio plays and an opera.
The 2014 film Effie Gray, written by Emma Thompson, featured Tom Sturridge as Millais.
The Pre-Raphaelites have been the subjects of two BBC period dramas. The first, entitled The Love School, was shown in 1975, starring Peter Egan as Millais. The second was Desperate Romantics (2009), in which Millais is played by Samuel Barnett.
Laurie Kynaston portrayed Millais in the Paramount+ adaptation of Elizabeth Macneal's The Doll Factory (2023).
One of the new signs that the Egged bus company is ordered to place on its buses in order to combat gender segregation, which is now illegal. It reads as follows (my free translation):
"All passengers may sit anywhere they choose (except in those seats set aside for people with disabilities). Harassing a passenger over this matter is liable to be a felony offense."
Reflections in Black and White exhibit - Cape Fear Museum - January 30, 2017 - New Hanover County, NC
Reflections in Black and White, features a selection of informal black and white photographs taken by black and white Wilmingtonians after World War II before the Civil Rights movement helped end legalized segregation. Visitors will have a chance to compare black and white experiences and reflect on what people’s lives were like in the region during the latter part of the Jim Crow era.
Examine mid-century cameras and photographic equipment and experience the “thrill” of opening a replica camera store photo envelope, a rare experience in today’s digital world. Flip through some recreated pages from Claude Howell’s scrapbooks, and take your own photograph in a 1950s setting.
Reflections in Black and White features selections from four large photographic collections:
•African American photographer Herbert Howard was a postal worker, a member of the NAACP, and a semi-professional photographer. Cape Fear Museum has a collection of more than 1,000 images he took documenting Wilmington’s black community.
•Artist Claude Howell left an extensive collection of scrapbooks to the Museum. The albums include hundreds of pages with photographs of Howell’s friends, local scenery, and people.
•Student nurse Elizabeth Ashworth attended the James Walker Memorial Hospital School of Nursing right after World War II. Her photographs provide a glimpse of a group of young white women’s lives in the late 1940s.
•In 2012, the Museum acquired a collection of photos that were taken in the late 1950s and early 1960s, and left at the Camera Shop, a downtown business that was a fixture from the late 1910s through the early 1980s.
Historian Jan Davidson explained why the concept behind the exhibit: “The different historical images speak to each other in some fascinating ways. Most of us can see our own lives reflected in the images, We all eat, hang out with friends, and many of us have taken silly pictures of ourselves or our loved ones. These images show our common humanity, and allow us to relate to people in the past as we might relate to a friend.”
Cape Fear Museum hopes the exhibit will spark reflection and conversation about the history of race relations. Davidson states, “When you look at these images as a group, they give us a chance to reflect on how legally-sanctioned racial segregation helped shape people’s daily lives. We want today’s visitors to have a chance to imagine what it felt like to live in a world where Jim Crow laws and attitudes deeply affected the textures of daily life.”
See more at: www.capefearmuseum.com/
Photo by Brett Cottrell, New Hanover County
There is a TV drama forthcoming on WowWow TV on racial discrimination, segregation versus integration issues. Here is a collection of cast members taken in between production shooting. It was perfect weather as well being an unusually warm day (19ºC) for early February. Every one seemed to enjoy themselves, except there was a lot of excess standing, so our legs became quite tired and sore.
Shoot location was Showa Memorial Park near Nishi Tachikawa Station, Tokyo, Japan. Anyone who is a subscriber to Wow Wow and is interested in viewing the movie, please send me a personal message. Cheers…..
本日のプロダクションは人種差別の主テーマとしてWowWowテレビで近い将来に放映する予定です。この写真集は撮影ロケでその番組のキャストメンバーです。天気も最適で最高でした。19ºCは２月の昇順ごろとしてとても例外的です。皆さんは楽しんでいましたが立つことはかなりありましてメンバーの一部の足み疲れてきて痛くなりました。
撮影ロケは西立川の昭和記念公園です。その番組予定の詳細を知りたい場合はメッセージを送って下さい。
Alabama Governor George Wallace is remembered for his "segregation now, segregation tomorrow, segregation forever" speech. This is the text he read from that day.
Spectators line up outside the U.S. Supreme Court December 7, 1953 waiting to hear arguments on five cases that challenged segregation of public schools, including the Bolling v. Sharpe case that affected the District of Columbia.
James Nabritt and George E. C. Hayes made the arguments for the plaintiffs in the Bolling case stressing that the Fifth Amendment to the Constitution prohibits the so-called “separate but equal” schools.
The argument centered around the plaintiff’s contention that the District’s public schools were inherently unequal because of segregation that deprived African Americans of “liberty” under the Fifth Amendment.
The four other school cases centered on the 14th Amendment’s “equal protection” clause, but the clause only applied to states and not the District of Columbia.
In May 1954, the Court ruled for the plaintiffs in all five cases, reversing the 1896 decision of Plessy v. Ferguson and outlawing so-called “separate but equal” schools.
For more information and related images, see www.flickr.com/gp/washington_area_spark/t28BJ9
For a detailed blog post detailing the fight to desegregate District of Columbia schools, see washingtonspark.wordpress.com/2015/08/20/dcs-fighting-bar...
The photographer is unknown. The image is an auction find.
An artifact of the time when commuter trains could switch from platform-level boarding to ground-level boarding. South Shore Line trains can still do that because half of the stations are ground-level, but all Metra Electric stations have raised platforms, rendering this function of necessary.
In any case - back in the old days, if the train had to stop at one of the outer tracks for some reason, it could just open one of the doors and drop off the passengers on this boarding walkway.
My Great Great Grandmother, Maggie Spain Rice. Born in 1885 in Iredell County, NC to Betty Campbell and Wash Spain, she was of mixed black and Indian heritage. Around 1905, at the age of 19, she married 41 year old former slave, Tom Rice, and they became share croppers in rural Rowan, County NC, around the town of Cleveland, NC. To their marriage was born 10 children, whom reflecting their parents mixed ancestry ranged in color from light yellow (Aunt Laura or "Laur" as she was called) to dark coffee (Great Grandfather David or "Paw-paw Rice" as we called him". A strict, but loving women, Maggie raised her children from a young age, to live with the love and fear of God, and a great appreciation for life itself. After her husbands death in the 1920's, she became a Domestic aka Maid. Living in Jim Crow North Carolina, she had few other options, and did her best to continue to provide for her large family. She died in 1949 at the age of 63. Interestingly enough, she died on a Thursday, was buried on a Saturday morning, her daughter, Lena died that same Saturday night, and was buried the following Monday.
Interesting fact, she had an accident in life that caused the removed of one of her legs, which resulted in her having a peg leg!
Rep. James O’Hanlon Patterson (D-S.C.) studied law and was admitted to the bar in 1886. He commenced practice in Barnwell, South Carolina.
Patterson was a probate judge of Barnwell County, South Carolina 1888–1892 and a member of the South Carolina House of Representatives 1899–1904.
He was elected as a Democrat to the Fifty-ninth, Sixtieth, and Sixty-first Congresses (March 4, 1905 – March 3, 1911).
While in Washington, D.C. he was outraged by an interracial couple that was seated in the House of Representatives public restaurant.
“However I refrained, by an effort, from making an unseemly exhibition of myself and sought the manager of the restaurant for an explanation.”
“To my astonishment, he told me that the portion of the restaurant set aside for the general public was free to anybody who wished to be served, regardless of color and that he was powerless to prevent such an exhibition of social equality as that which so enraged me.”
He was unsuccessful at that time in imposing Jim Crow within the U.S. Capitol. That would occur a few years after he left Congress in 1911.
After leaving Congress, he resumed the practice of his profession in Barnwell, South Carolina where he died on October 25, 1911.
For a detailed blog post on Jim Crow at the U.S. Capitol restaurants, see washingtonspark.wordpress.com/2018/02/26/origins-of-the-c...
For related images, seehttps://flic.kr/s/aHsmcArGZz
The photographer is unknown. The image is from Volume 3 of 1908's Men of Mark in South Carolina, 1908.
Following the 1994 Baruch Goldstein massacre of 29 Muslims praying at Ibrahimi Mosque, al-Shuhada Street was arbitrarily closed to Palestinian vehicles and to most Palestinian pedestrians : a concrete barrier now segregates Israeli and Palestinians.
Al-Shuhada Street used to be a central part of the teeming Palestinian city center.
In the background, an Israeli soldier stands guard. Hebron is home to 600 radical settlers defended by 2000 soldiers.
www.independent.co.uk/news/world/middle-east/a-rough-guid...
Reflections in Black and White exhibit - Cape Fear Museum - January 30, 2017 - New Hanover County, NC
Reflections in Black and White, features a selection of informal black and white photographs taken by black and white Wilmingtonians after World War II before the Civil Rights movement helped end legalized segregation. Visitors will have a chance to compare black and white experiences and reflect on what people’s lives were like in the region during the latter part of the Jim Crow era.
Examine mid-century cameras and photographic equipment and experience the “thrill” of opening a replica camera store photo envelope, a rare experience in today’s digital world. Flip through some recreated pages from Claude Howell’s scrapbooks, and take your own photograph in a 1950s setting.
Reflections in Black and White features selections from four large photographic collections:
•African American photographer Herbert Howard was a postal worker, a member of the NAACP, and a semi-professional photographer. Cape Fear Museum has a collection of more than 1,000 images he took documenting Wilmington’s black community.
•Artist Claude Howell left an extensive collection of scrapbooks to the Museum. The albums include hundreds of pages with photographs of Howell’s friends, local scenery, and people.
•Student nurse Elizabeth Ashworth attended the James Walker Memorial Hospital School of Nursing right after World War II. Her photographs provide a glimpse of a group of young white women’s lives in the late 1940s.
•In 2012, the Museum acquired a collection of photos that were taken in the late 1950s and early 1960s, and left at the Camera Shop, a downtown business that was a fixture from the late 1910s through the early 1980s.
Historian Jan Davidson explained why the concept behind the exhibit: “The different historical images speak to each other in some fascinating ways. Most of us can see our own lives reflected in the images, We all eat, hang out with friends, and many of us have taken silly pictures of ourselves or our loved ones. These images show our common humanity, and allow us to relate to people in the past as we might relate to a friend.”
Cape Fear Museum hopes the exhibit will spark reflection and conversation about the history of race relations. Davidson states, “When you look at these images as a group, they give us a chance to reflect on how legally-sanctioned racial segregation helped shape people’s daily lives. We want today’s visitors to have a chance to imagine what it felt like to live in a world where Jim Crow laws and attitudes deeply affected the textures of daily life.”
See more at: www.capefearmuseum.com/
Photo by Brett Cottrell, New Hanover County