Gloria Steinem and Dorothy Pitman-Hughes, 1972 and 2014
Both by Dan Bagan
Wanna see my cry like a baby? Ask me who these women were.
Hughes’ father was beaten nearly to death by the KKK when she was a kid, and what does she do? Become an activist to try and stop that from happening to other people. She raised money to bail civil rights protesters out of jail. She helped women get out of abusive situations by providing shelter for them until they got on their feet. She founded an agency that helped women get to work without having to leave their children alone, because childcare in the 1970s? Not really a thing. In fact, a famous feminist line in the 70s was “every housewife is one man away from welfare.”
Then she teamed up with Steinman to found the Women’s Action Alliance, which created the first battered women’s shelters in history. They attacked women’s rights issues through boots on the ground activism, problem solving, and communication. They stomped over barriers of race and class to meet women where they were: mostly mothers who wanted better for themselves and their children.
These are women are who I always wanted to be.
“There goes Stuart Sutcliffe. He coulda been in The Beatles.”
Brian Epstein introduces The Searchers on NBC’s Hullabaloo. They perform ‘What Have They Done to the Rain’ and ‘Love Potion #9’
[Walk In Eternity]
An update of sorts, to this older version before Twelve’s time.
Try out these Halloween themed color palettes before October ends!Nightscape: #0d0d0e #17151d #292c59 #29589f #2796ff
Sour Apple Candy:#bac683 #98c246 #439e11 #204e00 #1b2600
Ruby Witch: #450019 #78021f #7e2c2e #965336 #cdad75
Starry Eyed: #080320 #180433 #48096f #d5b774 #f7ff71
Raven's Way: #0b0908 #110d0c #1c1112 #500813 #830013
Pumpkin Fever: #c3e76a #b7ea31 #f4b227 #ff5003 #6f0083
Halloween: #ffe558 #ffae2f #ff5a00 #832e01 #080202
Two weeks after closing Woodstock with his reinvention of “The Star Spangled Banner,” Jimi Hendrix decided to offer a free concert for a group he called “my people.”
He held a concert for an African-American audience in Harlem, a place he once called home. Hendrix’s homecoming, though, was almost ruined as soon as he stepped onstage. Someone threw a bottle at him that shattered against a speaker; eggs splattered on the stage. Hendrix gamely played on while much of the crowd melted away.
“They didn’t like him,” says Charles R. Cross, who recounts the episode in his biography of Hendrix, “Room Full of Mirrors.” “He was jeered. People heckled him.”
A new film focusing on a more triumphant period in Hendrix’s life is rekindling interest in the guitar icon. “Jimi: All Is by My Side” shows how Hendrix left New York for London to become a star. Yet no film has explored another twist in Hendrix’s journey: How black and white audiences misunderstood the importance of Hendrix’s race, both to the man and to his music.
Hendrix traveled to Harlem because he was trying to connect with blacks who had dismissed him as a musical Uncle Tom: a black man playing white man’s music. Music critics and biographers say Hendrix also was frustrated by legions of white fans who only saw him as a racial stereotype — a hypersexual black man who was high all the time — instead of a serious musician.
There are signs today that more fans are starting to appreciate how Hendrix’s race shaped his life and sound. Yet he’s still seen by many as a musical genius who just happened to be black instead of a man whose genius was inseparable from his race, says Jeremy Wells, author of “Blackness Scuzed: Jimi Hendrix’s Invisible Legacy in Heavy Metal.”
Wells first noticed this pattern when he examined how white heavy metal musicians and fans described Hendrix. They rarely mentioned his race, or even said that his music transcended race. Wells said he found that odd given Hendrix’s sound was steeped in the blues tradition of black guitarists such as B.B. King and Muddy Waters.
“Nobody would say that race doesn’t matter for Muddy Waters,” says Wells, an English professor at Indiana University Southeast. “But there’s a whole industry devoted to saying it doesn’t matter for Hendrix.”
Race mattered more to Hendrix than most people realize, critics and biographers say: He was hurt by black radio’s refusal to play his music; he experienced stinging racism during his time as an R&B sideman and star; and some of his most famous songs were profoundly shaped by his experiences as a black man in America. [Read More]
Lou Reed — Coney Island Baby - 1975
"Why isn’t this a real thing?"
Courtney Moore works at Walmart. She makes $230 every two weeks. Her monthly rent is $420.
"I am on government assistance. I am on food stamps and I have to get government housing. I should not need that if I am a Walmart employee."