#greenwood legacy 1930

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

while i wasn't able to screenshot it....not too long after georgie's birthday, isabelle came to the greenwoods' house. she took leslie aside, and revealed she had gotten pregnant. leslie told his parents, and suffice to say they didn't take it well.

john was absolutely incensed, and their conversation quickly turned to an argument. how could his son do that? not only is it disrespectful to isabelle and her family, but theirs too.

john stormed out to his work, and left dealing with it to mary.

left to pick up the pieces, mary invited of isabelle. she loved her almost as much as her own children, after all. usually a teen pregnancy, at this time, would end with the daughter being sent away and the child adopted, if kept. mary didn't want that for her, and certainly the josephs didn't either.

together they planned how to deal with it. neither of them was far from adulthood, so she organized for izzy and leslie to get their own home quickly after they graduated. moving them out quietly and somewhat far away seemed the best option.

[black-paraphernalia]

I am posting this next bit of information under Little Known Black History Fact because the WS in American are very good in  whitewashing the real truth of  history that really happen when it involves blacks in this country; which is always the case. They lie and deny that is what they do they do not want to admit Black History is American History, for this will put the spot light on the evilness of WS in America and how everyone from the White house to the Out  house is complicit. 

On the cusp of the 100th year anniversary or the Black Wall Street Massacre as horrible and sad it was the little know fact is this was not the first nor will it be the last. 

This history of Jim Crow enforced by the Klan provides context for a hard truth: In America, race riots are used to settle social discontent. The origin of race rioting begins with southern whites, resenting black advancement, attacked them to disenfranchise them of both the vote and economic prosperity.

Race riots were not born in the 1960s; they were born in the 1870s. The Meridian, Mississippi race riot of 1871, the Colfax Massacre in Louisiana in April 1873, the New Orleans riot of July 1866, the Memphis, Tennessee riot of May 1866, the Charleston, South Carolina riot of September 1876 and the Wilmington, South Carolina race riot of 1898, to name a few, occurred under the passive and sometimes direct hand of the local police.

The result: The ability of the former slaves to create intergenerational wealth — the key to all success in a capitalist nation — was systematically destroyed for generations.

From the late 1890s through the 1920s, white race riots continued. In the 1921 Greenwood Riot, the entire black neighborhood of Greenwood in Tulsa, Oklahoma, which was known as the black Wall Street, was burned to the ground. And in the Rosewood massacre of 1923, the entire neighborhood of Rosewood, Levy County, Florida was similarly destroyed.

These and other white race riots (Red Summer of 1919) not only took black lives and wiped whole black neighborhoods off the face of the earth, they ended black economic wealth that could be passed to subsequent generations. It also caused displacement of black expertise and talent, thwarting its concentration and increase.

This economic decimation of black wealth and social stability was made worse by the Great Depression and blacks being denied full access to the various New Deal programs of the 1930s and the benefits of the GI Bill in the 1940s. Thus, during the first four decades of the American Century, blacks were subjected to white race riots and social policies that destroyed their wealth.

The point is that while whites were allowed to create intergenerational wealth and form wealthy communities both before and after the world wars, blacks were, as a matter of policy, prevented from doing the same. The policy outcome of a century of Jim Crow is systemic racism. 

Source: Morningcall.com  Your View: A history of white race riots in America By ARTHUR H. GARRISONTHE MORNING CALL-JUN 12, 2020

Here is a list of some of the countless massacres in the history of the United States. Look at the dates it was not something that happen way back the,. It happen in the past and the present and if we do not do anything to change it it will happen now and the future. STOP THE MADNESS!!!

Click on the below link for a extensive collection of information about each massacre

Zinn Education Project what you will not learn in the texts books

Most of these massacres were designed to suppress voting rights, land ownership, economic advancement, education, freedom of the press, religion, LGBTQ rights, and/or labor rights of African Americans, Latinos, Native Americans, Asians, and immigrants. While often referred to as “race riots,” they were massacres to maintain white supremacy.

One of the best explanations about why it is important for students to learn this history is included in the article (and related lesson) by Linda Christensen, Burning Tulsa: The Legacy of Black Dispossession.

A tweet thread by historian Stephen West shows how politicians fueled hate crimes during the Reconstruction era, with parallels today. Ursula Wolfe-Rocca writes about Red Summer of 1919, Remembering Red Summer — Which Textbooks Seem Eager to Forget

This list is not complete and definitive.

Black Paraphernalia Disclaimer- images from Google images

[caveartfair]

The Brooklyn-Born Sisters Diego Rivera Dubbed “The Greatest Living Women Mural Painters”

Shalat, Marion Greenwood standing in front of mural painted for the WPA Federal Art Project, 1940. Image via Wikimedia Commons.

For decades, a 72-foot-wide fresco in Morelia, Mexico—located outside the Universidad Michoacana de San Nicolás de Hidalgo—teased students with its anonymity. With no explanatory plaque, the identity of the artist behind the mural’s colossal Tarascan Indian figures was left to local lore. Another mural at the nearby Museo Michoacano, however, made clear the conspicuously American name of its creator: Grace Greenwood.

The discrepancy irked Joanne Mulcahy, a writer currently preparing a biography of Grace’s sister, Brooklyn-born artist Marion Greenwood. Mulcahy thought it unjust to brand one sibling’s work while sentencing the other to obscurity. She successfully lobbied to install a plaque for Marion’s university mural, Landscape and Economy of Michoacán (1933–34), and the authorship of both Greenwoods is now clearly spelled out in Morelia.

The story of their adventurous three-year Mexican sojourn, on the other hand, is still largely unwritten. This is partially because the sisters don’t fall neatly into conventional categories of 1930s mural painting: New Deal projects, regionalist historical epics, or even Mexico’s “tres grandes”—Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros.

Shalat, Marion Greenwood with a group of children on scaffolding, 1940. Photographed for the WPA. Image via Wikimedia Commons.

But, in the sensationalized words of the Brooklyn Daily Eagle, “how Marion and Grace Greenwood, born and brought up in Brooklyn, reached the land of bullfights, hairless dogs and jumping beans is a story worth hearing.” The sisters painted five Mexican murals in true fresco technique between 1933 and 1936, becoming two of the few female artists who employed the medium. Although they worked independently at first, eventually the duo collaborated on a more than 3,000-square-foot section of the Abelardo L. Rodríguez Market in Mexico City—a project supervised by Rivera himself.

The sisters’ artistry was fostered by their liberal and encouraging upbringing. “They were from a sophisticated New York family, where the parents were supporting their bohemian tendencies,” said James Oles, a professor of Latin American art history at Wellesley College who has studied the Greenwoods. “It wasn’t a question of having a lot of money, but of being supported. I think that women who had that had a huge advantage.”

It was also ultimately advantageous to stick together. Though they spent most of their time in Mexico together, it was the younger Marion who paved the way for her sister to join her south-of-the-border mural projects. She first ventured to Mexico in December 1932, hitching a ride with two friends driving to Mexico City.

There she tracked down Pablo O’Higgins, an American expat and Rivera’s assistant, who taught her the rudimentary fresco technique of applying paint pigments to wet plaster. “Oil painting is a lazy medium but not fresco,” Marion said in a 1964 interview, referring to the physical stamina required to paint for hours on end before the plaster dried. “It was the true wet technique which Michelangelo had used and Giotto.”

Shalat, Marion Greenwood on a scaffold, working on a mural above two sets of doors, 1940. Image via Wikimedia Commons.

With her newfound training, nonexistent Spanish, and considerable pluck, Marion soon convinced hotel owners in the colonial town of Taxco to let her paint her first mural in a 20-foot stairwell. Upon the project’s completion in April 1933, Marion wrote to her mother and proudly declared herself “the first woman who has ever done a fresco in Mexico.”

After proving to be a quick learner with her Taxco project, Marion was directly commissioned by Morelia’s university rector to paint her second (long-unlabeled) mural. It was around that time that Grace joined her sister in Mexico. With her sister’s help, she received a commission to paint a smaller, 26-foot fresco at the Museo Michoacano.

It is tempting to imagine some sibling rivalry between Marion and Grace, who essentially vied for the same artistic opportunities. But according to Mulcahy, when they worked together in Mexico, “they seemed to relish the camaraderie.” Their partnership reached its peak the following year, when the two collaborated on a government-commissioned project to paint walls surrounding a dramatic twin staircase in Mexico City’s Rodríguez Market. The Greenwoods were among 10 artists assigned blank walls in 1934, with Rivera supervising the visual content.

Shalat, Greenwood dipping her brush into her palette while painting a mural for the WPA Federal Art Project, 1940.

They chose to depict the struggles of the Mexican laborer. Marion’s walls, titled The Industrialization of the Countryside, began with the construction of ancient canals and progressed through working-class urban protests. Grace’s mural cycle, Mining, focused on the extraction, production, and use of mineral resources as a symbol for Mexico’s capitalism. The wall at the top of the staircases is where the two mural cycles meet. Depicting a city worker and farmer hanging a Communist banner together, Oles noted that these “two workers can be read as equivalents of the two young Americans, artists who had adopted the overalls and wages of the working-class to bring their message directly to the people.”

The project was received with great fanfare in the press, with articles about the sibling duo appearing in Moscow-based International Literature and the New York Times. In an April 1936 article in the Washington Post, Rivera named Marion and Grace “the greatest living women mural painters.”

Grace Greenwood, Mining, Abelardo L. Rodriguez Market, Mexico City. Photo courtesy of Joanne Mulcahy.

But with no future commissions, the Greenwoods returned home. “Heart and soul, they belong to America, to the Twentieth Century,” expounded the Brooklyn Daily Eagle. “Yet Mexico has been their godmother. She took them in when they were, practically, unknown; she will send them back, matured and crowned by success.” Soon after, they created oil-on-canvas murals for different sections of the Westfield housing project in Camden, New Jersey. After that, the sisters never worked together again.

Despite the fact that her Morelia mural was unidentified for years, it was Marion whose artistic legacy ultimately outshone that of her big sister, Grace. “[Marion] was just far more talented, far more bold, far sexier, far more interesting, probably more intellectual,” Oles said. “From what I can tell, nobody really remembered [Grace] too much in later years.”

Marion went on to become a World War II artist and war correspondent, and traveled and painted in China after the war; she made art for the rest of her life. But she would always remember her time in Mexico as an unparalleled moment of opportunity and creative freedom. Years later, she recalled, “I just never felt that way again.”

from Artsy News

[suerusselldj]

Radiohead Announce U.S. Tour Openers

Spoil me - I'm a DJ and I'm cute!

Earlier this year, Radiohead announced a short series of U.S. tour dates for the spring, leading up to their headlining performance at this year’s Coachella festival. Now, the band have announced the openers for their sold-out U.S. tour. Dudu Tassa & the Kuwaitis, the “cross-cultural joint Jewish-Arabic project from Israel” led by singer-songwriter Dudu Tassa. The project sees Tassa exploring the musical legacy of Daoud and Saleh al-Kuwaiti, two brothers who penned popular Iraqi songs in the 1930s and ’40s. (Tassa is Daoud al-Kuwaiti’s grandson.) The recording of the group’s self-titled first album was documented in the 2011 film Iraq N' Roll. Radiohead guitarist Jonny Greenwood collaborated with Dudu Tassa on the latter’s track "Eize Yom” in 2009.

The previously announced Junun (Greenwood’s project with Shye Ben Tzur and the Rajasthan Express) have also been added to the bill for Radiohead’s Florence show. Both Dudu Tassa & the Kuwaitis and Junun will perform at the band’s Tel Aviv show in July. Previously, it was also announced that James Blake would be opening for the band in Italy.

Check out Pitchfork’s new features on the 20th anniversary of OK Computer.

Dudu Tassa & The Kuwaitis will support Radiohead on their US headline dates, beginning in Miami on March 30th. https://t.co/Jruhgermro

— Radiohead (@radiohead) March 21, 2017

.@JununMusic feat. Shye Ben Tzur & The Rajasthan Express will join the bill in Florence. Both bands will support in Tel Aviv on 19th July.

— Radiohead (@radiohead) March 21, 2017

To see ticket availability for all tour dates visit: https://t.co/lbrOF9kmw3

— Radiohead (@radiohead) March 21, 2017

[Read More ...]

IN MY Dreams

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

whoops. its another birthday! georgie invited every one of her and leslie's friends over, but...well, they're much older than her now. it was a bit hard to connect really with any of them.

even aged up, they were a bit reluctant to speak with her. she supposes they just get along better with eachother.

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

that same night that izzy's father came over, they met by the river. they discussed what her father said. leslie didn't mind making it official, he really adored izzy and obviously she did too.

things went a bit farther than discussing, after...

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

leslie and izzy have been having a lot of little meetings, but always at night. one day, her father came and said he "approved of their relationship" - leslie wasn't quite sure what he meant,

while he wasn't quite happy, izzy was! it isn't exactly that he wasn't happy....he just didn't know he was in a relationship exactly

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

isabelle and leslie have been getting even closer, quickly! theyve barely spent any time at school or their respective homes, electing instead to meet in the woods between their houses.

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

suddenly, its leslie's birthday, and hes becoming a teen! they had a small little party at the greenwoods' house, with the thaos and isabelle. the whole week was full of birthday parties, with diana and roderick (ida and lee's kids) having their birthdays the day after leslie, and isabelle after that.

heres his teen outfit. with the newfound freedom that being a teenager comes with, he has been getting a bit rebellious....but certainly its nothing

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

leslie and isabelle are becoming fast friends! theyre so cute, i cant resist taking a thousand screenshots.

i dont believe im supposed to save kids' drawings, but isabelle went into leslies room and made this...i dont have the heart to get rid of it. i wonder if she has a crush on him?

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

school's kicking into gear for georgie and leslie. luckily, their parents adore trying to help with their projects!

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

new years was quiet. everyone is tired, so they had just a little get together with the thaos.

and with the snow melting, mary has been getting out into the garden.

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

birthdays birthdays birthdays. john and mary are adults, and georgie is a full on kid.

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

leslie met a nice girl on his walk home from school and they hit it off! her name is isabelle, and she lives not too far off.

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

kids and marriage have kept ida and mary apart for a while, so while everyone else has been gone at school or work theyve been together as much as possible

[greenwoodlegacy]

☆*:.｡.o Greenwood Legacy o.｡.:*☆

its been snowing so heavily at the greenwoods' house, so theyve been playing outside a lot! georgie has been using her new found power of walking to do evil (throw snow at people).