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oberlincollegelibraries · 6 years ago

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Sunday Edition: Books with Photos

How do you take a break? With finals around the corner and stress mounting, it is important to take care of yourself. This week’s Sunday Edition brings you books from Oberlin College Library’s collection featuring photos. In these gripping books, photographs are central to narratives of history and culture. From science fiction movies to a small town in Upstate New York, photos provide a respite from text heavy readings. Check out these books and others on the New Books Shelf in Azariah’s Cafe!

Typeset in the Future: Typography and Design in Science Fiction Movies by Dave Addey

“In Typeset in the Future, blogger and designer Dave Addey invites sci-fi movie fans on a journey through seven genre-defining classics, discovering how they create compelling visions of the future through typography and design. The book delves deep into 2001: A Space Odyssey, Star Trek: The Motion Picture, Alien, Blade Runner, Total Recall, WALL·E, and Moon, studying the design tricks and inspirations that make each film transcend mere celluloid and become a believable reality. These studies are illustrated by film stills, concept art, type specimens, and ephemera, plus original interviews with Mike Okuda (Star Trek), Paul Verhoeven (Total Recall), and Ralph Eggleston and Craig Foster (Pixar). Typeset in the Future is an obsessively geeky study of how classic sci-fi movies draw us in to their imagined worlds—and how they have come to represent “THE FUTURE” in popular culture.” -Provided by Publisher

The World Atlas of Street Fashion by Caroline Cox

“Since the early 20th century, city sidewalks have become runways where idiosyncratic modes of dressing are presented, consumed, and exported. Their messages include resistance, solidarity, subversion, social transformation, or musical affiliation, and a group of like-minded individuals can create a powerful sartorial force. Organized by continent and with 600 color images, The World Atlas of Street Fashion examines street style in all its global diversity. The book shows how Punk’s generic language of anarchy is redeployed in London, Berlin, Tokyo, or Jakarta and takes on the unique flavor of each. It also reveals how street style can be overtly political: the Sapeurs of Kinshasa use elegance to reframe themselves as gentlemen, and the cholo gangs of East Los Angeles took strength from the Chicano movement of the 1960s. Street style can also be obsessive, as seen here through the K-Pop enthusiasts of Seoul, who inhabit the lives of their music idols by re-creating publicity stills through elaborate cosplay. The author discusses how such scenes can develop cachet by being underground, fostering a look’s distinctiveness and integrity. Through its extensive research, striking photography, and handsome design, World Atlas of Street Fashion is the essential resource on world street style.” -Provided by Publisher

Upstate Girls: Unraveling Collar City by Brenda Kenneally

“Welcome to Troy, New York. The land where mastodon roamed, the Mohicans lived, and the Dutch settled in the seventeenth century. Troy grew from a small trading post into a jewel of the Industrial Revolution. Horseshoes, rail ties, and detachable shirt collars were made there and the middle class boomed, making Troy the fourth wealthiest city per capita in the country. Then, the factories closed, the middle class disappeared, and the downtown fell into disrepair. Troy is the home of Uncle Sam, the Rensselaer Polytechnic Institute, the Rensselaer County Jail, the photographer Brenda Ann Kenneally, and the small group of young women, their children, lovers, and families who Kenneally has been photographing for over a decade.

Before Kenneally left Troy, her life looked a lot like the lives of these girls. With passion and profound empathy she has chronicled three generations—their love and heartbreak; their births and deaths; their struggles with poverty, with education, and with each other; and their joy.

Brenda Ann Kenneally is the Dorothea Lange of our time—her work a bridge between the people she photographs, history, and us. What began as a brief assignment for The New York Times Magazine became an eye-opening portrait of the rise and fall of the American working class, and a shockingly intimate visual history of Troy that arcs over five hundred years. Kenneally beautifully layers archival images with her own photographs and collages to depict the transformations of this quintessentially American city. The result is a profound, powerful, and intimate look at America, at poverty, at the shrinking middle class, and of people as they grow, survive, and love.” -Provided by Publisher

Unseen: Unpublished Black History from The New York Times Photo Archives by Darcy Eveleigh, Dana Canedy, Damien Cave, and Rachel L. Swarns

“It all started with Times photo editor Darcy Eveleigh discovering dozens of these photographs. She and three colleagues, Dana Canedy, Damien Cave and Rachel L. Swarns, began exploring the history behind them, and subsequently chronicling them in a series entitled Unpublished Black History, that ran in print and online editions of The Times in February 2016. It garnered 1.7 million views on The Times website and thousands of comments from readers. This book includes those photographs and many more, among them: a 27-year-old Jesse Jackson leading an anti-discrimination rally of in Chicago, Rosa Parks arriving at a Montgomery Courthouse in Alabama a candid behind-the-scenes shot of Aretha Franklin backstage at the Apollo Theater, Ralph Ellison on the streets of his Manhattan neighborhood, the firebombed home of Malcolm X, Myrlie Evans and her children at the funeral of her slain husband , Medgar, a wheelchair-bound Roy Campanella at the razing of Ebbets Field.

Were the photos--or the people in them--not deemed newsworthy enough? Did the images not arrive in time for publication? Were they pushed aside by words at an institution long known as the Gray Lady? Eveleigh, Canedy, Cave, and Swarms explore all these questions and more in this one-of-a-kind book.

UNSEEN dives deep into The Times photo archives--known as the Morgue--to showcase this extraordinary collection of photographs and the stories behind them.” -Provided by Publisher

#sunday reading #oberlin college #oberlin college libraries

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gaystarnews-blog · 6 years ago

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Josephine Baker

Jean Michel Basquiat

George Washington Carver

Leslie Cheung

Brenda Fassie

Mahmud of Ghazni

Kenny Greene

Emile Griffith

Billie Holliday

Frida Kahlo

Malcolm X

#QPOC #bisexual people of color #history #black qpoc

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seeselfblack · 7 years ago

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Harlem gave warm welcome to Cuba’s Fidel Castro staying at Hotel Theresa in 1960

...In April 1959, Malcolm X had called for a “Bandung Conference” in Harlem while addressing an African Freedom Day Celebration in front of the famed hotel.1 After words by Manhattan Borough President Hulan Jack and Charles T.O. King, the ambassador of Liberia to the United Nations, Malcolm argued that it has “been since the Bandung Conference that all dark people of the earth have been striding toward freedom.” It was at this conference that all dark people recognized a common enemy: “Call him Belgian, call him Frenchman, call him Englishman, colonialist, imperialist, or European . . . .but they have one thing in common: ALL ARE WHITE MEN!”2

Held in Indonesia from April 18–25, 1955, the Bandung Conference marked the first major articulation of the nonaligned movement. It voiced a shared commitment to anticolonialism and self-determination, carving out a third path beyond the bipolar struggle between the U.S. and the Soviet Union. Richard Wright summed up the goals of the conference through the terse phrases of a newspaper article: “The West is excluded. Emphasis is on the colored nations of the world . . . Colonialism is out. Hands off is the word. Asia is free. This is perhaps the greatest historic event of our century.”

If Bandung represented, in the words of Brenda Gayle Plummer, a “break in the Cold War ice,” visits by Castro and Egyptian president Gamal Abdel Nasser to Harlem in 1960 “constituted an opening volley in the assault on Cold War bilateralism.” As Castro and his delegation arrived in New York City for the U.N.’s General Assembly, the Cuban government had just seized U.S. banks and tobacco production in Cuba and the Eisenhower administration cut diplomatic ties and squeezed its embargo of the small Caribbean island even more tightly.

Despite preparations for Castro to stay at the Shelburne Hotel just blocks from U.N. headquarters, the owner balked: “Someone told me that the New York Police Department was prepared to put up tents in Central Park for Castro and his party. Maybe that’s not a bad idea.”3 When the group finally reached the Shelburne, the hotel demanded Castro put down a second $10,000 cash deposit to cover potential damages by his delegation. Furious, Castro now threatened to sleep in Central Park, noting that Cubans “are mountain people. We are used to sleeping in the open air.”4

Malcolm X seized upon this opportunity and invited Castro to stay at the legendary Hotel Theresa. As Castro’s delegation moved uptown, community activists rushed to prepare for his arrival. At a meeting of the Harlem Writers Guild Workshop, author Sarah Elizabeth Wright remembered that “we scrambled for our coats and headed uptown to cheer Fidel, to make sure no harm befell him.” Despite the proliferation of photographs from the historic thirty-minute meeting between Malcolm X and Fidel Castro, the only press present were journalists Ralph Matthews and James Booker and photographer Carl Nesfield.

Part of the tremendous energy captured in Nesfield’s photos was a result of the men’s desperate gesticulations as they tried to communicate across the language barrier. Malcolm welcomed Castro to Harlem by saying: “Downtown for you, it was ice, uptown it is warm.” Castro smiled and told him “Aahh yes, we feel very warm here.” Before leaving, Malcolm offered a closing parable: “No one knows the master better than his servants. We have been servants ever since we were brought here. We know all his little tricks. Understand? We know what he is going to do before he does...”5

#fidel castro #Malcolm X

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wallpapernifty · 5 years ago

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10 Fantastic Vacation Ideas For Rose Shoulder Tattoo | Rose Shoulder Tattoo

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silver-cats · 7 years ago

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i have been losing interest in reading (due to mental health issues) but i really need some advice on books to read that would help me be more "woke" about social issues and i have no idea where to start or what to do and i feel so behind any suggestions?

before I even give you advice I think what you need to remember is that more than anything your social justice should driven by your love for oppressed marginalised communities, yes its good to be educated because it definitely makes fighting for these marginalised communities easier but a lot of the time social justice is about having humanity a lot of the time what someone is looking for is love and compassion not a lecture so don’t beat yourself up if that’s the only thing you feel you can offer.

And you really shouldn't compare yourself to anyone like I just mentioned social justice should be centred around the love you have for oppressed marginalised peoples not how much more than x or y you know, and if your social justice is centred around others in that way then I think you need to revise it because that’s not what social justice is about. With all the pretentious people on and off social media who ‘drag’ you for not knowing a lot ridding yourself of this mindset is definitely easier said than done but its pretty disgusting REALLY if the only reason you want to learn more about, let’s say, black liberation, is just so you can know more than someone else that means your social justice is centred around your ego not your love for the black community (nothing wrong with getting motivated to learn more about the world when you see people who know a lot about it though, just that it shouldn’t be your main actual motivation for learning about the systemic oppression of a community).

so yeah don’t beat yourself up when you see people know a lot more than you is the gist of what I’m saying!!! don’t let social media and the pretentious people you (probably) surround yourself with get you down for not knowing as much as them just focus on the marginalised community you want to learn more about they should be your only focus and if you have to focus on anyone beside them then focus on yourself and how much you NOW know about them focus on how much more you’ve learnt about said marginalised community and how much more you can now fight for them. Focus on all the progress you’ve made and the love you have for them too.

ok NOW pep talk aside for my actual answer there’s tons of diff media out there to learn from if on some days you feel like books aren’t your thing that’s alright! that’s how I’ve been feeling recently honestly and its why I’ve been watching a lot of films and interviews and listening to a lot of podcast while I’m cooking for my family or even just cleaning my room. Books aren’t the only resources out there for you (and others) to learn from don’t feel like you HAVE to read one to have a ‘valid’ point of view. If you really want to get back into reading though reading think pieces online i’ve found is pretty helpful you learn a lot but don’t have to do as much reading as you would if you were to read book ( I try to read one think piece everyday personally and slowly but surely I’m regaining my motivation to read). And the last point should be obvious but reading a little bit everyday even if its just one page helps, I always try to read a little before going to bed I make myself a hot chocolate, get in bed (roast me if you must for being such a grandad) and always read a few pages from a book I keep on my bedside table. I try to also not read multiple book at a time (defiiiinitely not easy) because then by sticking to one book you can actually feel yourself progressing and getting further into the book if you read a new book every 10 pages you’ll feel like you’re not moving at all and that’ll just make you feel worst.

also here are books for you to check out (will probably add more in the morning):

- Malcolm’s x autobiography

-animal farm by George Orwell

-the communist manifesto by karl Marx (haven’t finished it yet though)

- 1984 by George Orwell

-capital by John Lanchester (from what I’ve heard its a reaaally good book)

- How the world works by Noach Chomsky

- The kiter runner by Khaled Hosseini

- Revolution revolt and reform in north africa: the arab spring and beyond (don’t know if you’ll like that one since as a maghrebi I’m definitely biased but)

- Orientalism by Edward Said (haven’t read it but also heard its a good book)

-Rosalind Franklin’s autobiography by Brenda Maddox (currently rereading it and its so rad Franklin was so coool)

hopefully all my rambling made sense, and good luck with dealing with your mental illness :)

#answered

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caveartfair · 6 years ago

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Kwame Brathwaite’s Photographic Vision of a Black Female Utopia

In 1950s Harlem, the neighborhood’s black population reached its peak. White locals departed for suburban sprawl, better schools, and more safety; a decade later, the black middle class followed suit. Those who stayed faced the effects of organized crime, widespread use of heroin, poor education, and inadequate housing. In spite of these hurdles, the people were vibrant and creative with their street fashion and art. The photographer Kwame Brathwaite experienced this nexus of Harlem living, and sought to immortalize its beauty, which was all but invisible from the perspective of major media outlets.

Kwame Brathwaite, Untitled (Garvey Day, Deedee in Car), 1965. Courtesy of Philip Martin Gallery.

The phrase “black is beautiful” became a part of the zeitgeist in the 1960s, but it was Brathwaite’s photography that popularized this slogan. Frustrated with the beauty ideals for African-Americans—such as slicked hairstyles that illustrated cultural assimilation, and the overrepresentation of light-skinned black people in both black and predominantly white magazines—Brathwaite picked up his camera and encouraged his models to come as they were: thick-haired, nappy, dark-skinned, and irrepressibly black.

Born in 1938 in Brooklyn to two Bajan parents, Brathwaite was arguably endowed with an artistic talent through his painter father, Cecil. Neither of the two men were formally trained. Brathwaite was introduced to photography after his uncle Lionel, who lived with his family,lost the tops of four of his fingers in a printing press accident. He enrolled in correspondence courses to continue to make a living, andphotography was one of those skills. Lionel taught Brathwaite the basics, such as loading the camera and using film.

Kwame Brathwaite, Self-portrait, African Jazz-Art Society & Studios (AJASS), Harlem, ca. 1964, from Kwame Brathwaite: Black Is Beautiful, Aperture, 2019. © Kwame Brathwaite.

Yet another aspect of Brathwaite’s making was the diversity of black life that he experienced in Harlem. In his own family, he was a second-generation black American of West Indian descent. Out on the streets there was a mélange of West Africans, West Indians, black Southerners, and black Northerners all brushing shoulders with one another in conversation and gaiety. This diasporic cohesion led Brathwaite to consider the writings of Marcus Garvey and Carlos Cooks, who both advocated for black nationalism—and therefore a complete separation from white society—as a way to maintain and nurture a distinguishable and unified black identity. Inspired, Brathwaite, along with his brother Elombe, created the African Jazz-Art Society and Studios (AJASS) in 1956 and the Grandassa Models in 1962. (The latter’s name references “Grandassaland,” a name for Africa popularized by Cooks that described its landmass before the great erosion split it from Asia.)

Brathwaite did not depict the black woman as what she could be but as what she had always been.

In January 1962, Brathwaite also held his first beauty pageant, called “Naturally ’62: The Original African Coiffure and Fashion Extravaganza Designed to Restore Our Racial Pride and Standards.” The participants, known as the Grandassa models, were not professionals in the fashion world, which reinforced Brathwaite’s political and artistic vision. They were dark-skinned and their hair was unprocessed; they wore African-inspired garments full of lush colors, waxed cotton prints, and elaborate patterns.

Naturally ‘68 photo shoot in the Apollo Theater, 1968. Courtesy the artist and Philip Martin Gallery, Los Angeles.

Kwame Brathwaite, Grandassa Models at the Merton Simpson Gallery, New York, ca. 1967, from Kwame Brathwaite: Black Is Beautiful, Aperture, 2019. © Kwame Brathwaite.

Kwame Brathwaite, Grandassa Model onstage, Apollo Theater, Harlem, ca. 1968, from Kwame Brathwaite: Black Is Beautiful, Aperture, 2019. © Kwame Brathwaite.

Kwame Brathwaite, Photo shoot at a public school for one of the AJASS-associated modeling groups that emulated the Grandassa Models and began to embrace natural hairstyles, Harlem, ca. 1966, from Kwame Brathwaite: Black Is Beautiful, Aperture, 2019. © Kwame Brathwaite.

Granted, it wasn’t the first event to showcase black female beauty in Harlem: The Miss Natural Standard of Beauty Contest was held the previous year in conjunction with the African Nationalist Pioneer Movement’s (ANPM) celebration for the Marcus Garvey Day. But Brathwaite was dismayed when the women would change their hair and reapply make-up the following week to go to work—Brathwaite sought to remove the bifurcation of their public selves. He premiered his own show at Harlem’s Purple Manor jazz club, near the corner of East 125th Street and Lenox Avenue (now Malcolm X Boulevard), to much fanfare: It was so popular that a second sold-out show took place. The “Naturally” shows continued through 1980, with commemorative events lasting until 2002.

In the early days, Brathwaite and Elombe rented a studio near the famed Apollo Theater for their newly formed modeling group. They passed out flyers for their events, and, unsurprisingly, naysayers emerged, even within their own community. Brathwaite’s son and the preservationist of his life’s work, Kwame S. Brathwaite, recalled hearing a story of a black man asking his uncle, “Do you mean you’re going to have some nappy-headed women on stage?” Local hairdressers worried that if Brathwaite’s vision succeeded, black women would no longer see the need for perms and hot combs.

Kwame Brathwaite, Sikolo Brathwaite, African Jazz-Art Society & Studios (AJASS), Harlem, ca. 1968, from Kwame Brathwaite: Black Is Beautiful, Aperture, 2019. © Kwame Brathwaite.

Much scholarship has been devoted to the perils of the male gaze and how women are captured through the lens as sexual objects. But for Brathwaite and his Grandassa models, these women were not just subjects, they were family who participated in his photo shoots and discussed the politics of Pan-Africanism movements. Nomsa Brath (formerly known as Helene White), Brathwaite’s sister-in-law, was one of the original eight Grandassa models, and designed many of their clothes.

“I had a vested interest in how we would be photographed and presented,” she said. “Kwame’s success at capturing the black female aesthetic encouraged us in all facets of our lives, not just modeling for audiences. It’s a confidence that happens when you see your face on album covers [and] posters all across the country and world. It was a great time and we had a great sisterhood.”

Kwame Brathwaite, Priscilla Bardonille, African Jazz-Art Society & Studios (AJASS), Harlem, ca. 1962, from Kwame Brathwaite: Black Is Beautiful, Aperture, 2019. © Kwame Brathwaite.

Kwame Brathwaite, Untitled (Brenda Deaver at AJASS Studios), 1965. Courtesy of Philip Martin Gallery.

Over 56 years have passed since the Grandassa models were introduced to the world, and Brathwaite’s recognition has at last arrived. In 2017, the Aperture Foundation honored Brathwaite at its annual gala, and will publish a book of his work this May. The foundation is also hosting a traveling exhibition of his photography until 2021, including an upcoming show at Skirball Cultural Center in Los Angeles from April 11th to September 1st. Aperture’s support was once a dream for Brathwaite and his son: “He felt like this was a culminating moment in his career,” Kwame S. said.

Kwame S. began preserving his father’s works five years ago, which he balances with a full-time job in real estate. Although some of Brathwaite’s photographs are housed in Harlem at the Schomburg Center for Research in Black Culture for research purposes, before Kwame S.’s handling, most of his father’s work was at his home and in storage. In addition to Brathwaite’s oeuvre of black women, the archive includes the photographer’s documentation of historic cultural events, such as the Jackson 5’s trip to Africa in 1974 and Muhammad Ali’s widely publicized Zaire boxing match against George Foreman, “Rumble in the Jungle,” of that same year.

Black is Beautiful poster, 1971. Photos by Kwame Brathwaite. Design by Bob Gumbs. Courtesy of the artist and Philip Martin Gallery, Los Angeles.

Kwame Brathwaite, Grace Jones, date unknown. Courtesy of the artist and Philip Martin Gallery, Los Angeles.

When asked about his father’s lasting influence on the perception of afrocentric beauty, Kwame S. said, “There’s a whole natural movement that is both around the world and online. As more people hear about his work, [they] understand where the ‘black is beautiful’ visualization came from. It’s being embraced by so many people who didn’t realize that’s why their parents wore their hair the way they [did].”

The movement’s influence is not only intergenerational, but also economical. According to the research firm Mintel, in 2016, 71 percent of black adults in the United States wore their hair naturally at least once that year, and black consumers spent an estimated $2.56 billion on hair-care products. Black cover girls—such as former first lady Michelle Obama, model Adwoa Aboah, and actresses Viola Davis, Gugu Mbatha-Raw, and Yara Shahidi—have recently flaunted their natural crowns in magazines such as Vogue, Essence, Allure, and Porter. And, just this year, the New York City Commission on Human Rights released new guidelines stating that there can be no discrimination, particularly towards African-Americans, based on hair.

Through Brathwaite’s delicate and compassionate eye, the black female form, unadulterated in appearance, gave a new visual language that helped heal centuries-old white-supremacist wounds. The Grandassa models were an idealization of a black female utopia, which reinvigorated a limitless Africa that carried all the dialects, languages, accents, and subcultures within one womb. Brathwaite did not depict the black woman as what she could be, but as what she had always been, her beauty a constant and not something to be fixed.

from Artsy News

#Artsy News

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natturnersrevenge1831 · 6 years ago

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repost from @olorvne ______ Me🗯: Anybody who watched my live show the other night on so called toxic masculinity may remember I had a woman comment that #malcolmx was a representation of masculinity and #tupac was a representation of toxic masculinity. I had to disagree I explained to her that Malcolm X was a member of the #noi and they teach gender roles and they serious about and in todays society this would be deemed toxic masculinity to those who have picked up the terminology. I also pointed out that Tupac who made both "brenda got a baby" and "dear moma" wouldnt be a good example of the point she tryna make. But she was adamant about her silly ideas. ______ These feminists are nuts, I dont trust em at all, their rhetoric and logic is typically that of the modern day c00n. Anybody putting anything over the fact that they are black first arent to be trusted. Pseudo black feminism is a propaganda campaign against black people. ______ #teamrob #unifyordie #practicalblackconsciousness https://www.instagram.com/p/BtOq9tmHBmN/?utm_source=ig_tumblr_share&igshid=1qm1hofcy52cd

#malcolmx #tupac #noi #teamrob #unifyordie #practicalblackconsciousness

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blackkudos · 8 years ago

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August Wilson

August Wilson (April 27, 1945 – October 2, 2005) was an American playwright whose work included a series of ten plays,

The Pittsburgh Cycle

, for which he received two Pulitzer Prizes for Drama. Each is set in a different decade, depicting the comic and tragic aspects of the African-American experience in the 20th century.

Childhood

Wilson's maternal grandmother walked from North Carolina to Pennsylvania in search of a better life. Wilson was born Frederick August Kittel, Jr. in the Hill District of Pittsburgh, Pennsylvania, the fourth of six children, to Sudeten-German immigrant baker/pastry cook, Frederick August Kittel, Sr. and Daisy Wilson, an African-American cleaning woman, from North Carolina. Wilson's mother raised the children alone until he was five in a two-room apartment above a grocery store at 1727 Bedford Avenue; his father was mostly absent from his childhood. Wilson would go on to write under his mother's surname. The economically depressed neighborhood where he was raised was inhabited predominantly by black Americans and Jewish and Italian immigrants. Wilson's mother divorced his father and married David Bedford in the 1950s, and the family moved from the Hill District to the then predominantly white working-class neighborhood of Hazelwood, where they encountered racial hostility; bricks were thrown through a window at their new home. They were soon forced out of their house and on to their next home.

In 1959 Wilson was one of fourteen African-American students at the Central Catholic High School, where he dropped out after one year. He then attended Connelley Vocational High School, but found the curriculum unchallenging. He dropped out of Gladstone High School in the 10th grade in 1960 after his teacher accused him of plagiarizing a 20-page paper he wrote on Napoleon I of France. Wilson hid his decision from his mother because he did not want to disappoint her. At the age of 16 he began working menial jobs, where he met a wide variety of people on whom some of his later characters were based, such as Sam in The Janitor (1985).

Wilson made such extensive use of the Carnegie Library of Pittsburgh to educate himself that it later awarded him an honorary high school diploma, the only diploma it has ever bestowed. Wilson, who had learned to read at the age of four, began reading black writers at the library when he was 12 and spent the remainder of his teen years educating himself through the books of Ralph Ellison, Richard Wright, Langston Hughes, Arna Bontemps, and others.

Career

Wilson knew that he wanted to be a writer, but this created tension with his mother, who wanted him to become a lawyer. She forced him to leave the family home and he enlisted in the United States Army for a three-year stint in 1962, but left after one year and went back to working various odd jobs as a porter, short-order cook, gardener, and dishwasher.

Frederick August Kittel, Jr. changed his name to August Wilson to honor his mother after his father's death in 1965. That same year he discovered the blues as sung by Bessie Smith, and he bought a stolen typewriter for $10, which he would often pawn when money was tight. At 20 he decided he was a poet and submitted his poetry to such magazines as Harper's. He began to write in bars, the local cigar store and cafes, longhand on table napkins and on yellow notepads, absorbing the voices and characters around him. He liked to write on cafe napkins because, he said, it freed him up and made him less self-conscious as a writer. He would then gather the notes and type them up at home. Gifted with a talent for catching dialect and accents, Wilson had an "astonishing memory," which he put to full use during his career. He slowly learned not to censor the language he heard when incorporating it into his work.

Malcolm X's voice would influence his life and work (such as The Ground on Which I Stand, 1996). Both the Nation of Islam and the Black Power spoke to him regarding self-sufficiency, self-defense and self-determination, and he appreciated the origin myths that Elijah Muhammad supported. In 1969 Wilson married Brenda Burton, a Muslim, and Wilson converted to Islam in order to sustain the marriage. He and Brenda had one daughter, Sakina Ansari-Wilson, and divorced in 1972.

In 1968, he co-founded the Black Horizon Theater in the Hill District of Pittsburgh along with his friend Rob Penny. Wilson's first play,Recycling, was performed for audiences in small theaters, schools and public housing community centers for 50 cents a ticket. Among these early efforts was Jitney, which he revised more than two decades later as part of his 10-play cycle on 20th-century Pittsburgh. He had no directing experience. He recalled: "Someone had looked around and said, 'Who’s going to be the director?' I said, 'I will.' I said that because I knew my way around the library. So I went to look for a book on how to direct a play. I found one called The Fundamentals of Play Directing and checked it out."

In 1976 Vernell Lillie, who had founded the Kuntu Repertory Theatre at the University of Pittsburgh two years earlier, directed Wilson'sThe Homecoming. That same year Wilson saw Sizwe Banzi is Dead at the Pittsburgh Public Theater, his first professional play. Wilson, Penny, and poet Maisha Baton also started the Kuntu Writers Workshop to bring African-American writers together and to assist them in publication and production. Both organizations are still active.

In 1978 Wilson moved to Saint Paul, Minnesota, at the suggestion of his friend director Claude Purdy, who helped him secure a job writing educational scripts for the Science Museum of Minnesota. In 1980 he received a fellowship for The Playwrights' Center in Minneapolis. He quit the Museum in 1981, but continued writing plays. For three years, he was a part-time cook for the Little Brothers of the Poor. Wilson had a long association with the Penumbra Theatre Company of St Paul, which gave the premieres of some Wilson plays. Fullerton Street which has been unproduced and unpublished, was written in 1980. It follows the Joe Louis/Billy Conn fight in 1940 and the loss of values attendant on the Great Migration to the urban North.

In 1987, Saint Paul's mayor George Latimer named May 27 "August Wilson Day." He was honored because he was the only person to both come from Minnesota and win a Pulitzer Prize.

In 1990 Wilson left St Paul after getting divorced and moved to Seattle. There he would develop a relationship with Seattle Repertory Theatre, which would become the only theater in the country to produce all of the works in his ten-play cycle and his one-man showHow I Learned What I Learned.

Although he was a writer dedicated to writing for theater, a Hollywood studio proposed filming Wilson's play Fences. He insisted that a black director be hired for the film, saying: "I declined a white director not on the basis of race but on the basis of culture. White directors are not qualified for the job. The job requires someone who shares the specifics of the culture of black Americans." The film remained unmade until 2016, when a film adaptation directed by Denzel Washington and starring Washington and Viola Davis began filming.

Wilson received many honorary degrees, including an honorary Doctor of Humanities from the University of Pittsburgh, where he served as a member of the University's Board of Trustees from 1992 until 1995.

Wilson maintained a strong voice in the progress and development of the (then) contemporary black theater, undoubtedly taking influences from the examples of his youth, such as those displayed during the Black Arts Movement. One of the most notable examples of Wilson’s strong opinions and critiques of what was black theater’s state in the ’90’s, was the ��On Cultural Power: The August Wilson/Robert Brustein Discussion”—being just one of the times where Wilson spoke plainly for the progression of black theater. Here, Wilson engages in a fairly heated discussion with Robert Brustein. As with all debate neither truly came out ‘right’, however both played a hand in calling attention to a huge issue, and shedding light on how poor of a state the form was in. Undeniably, Wilson left an everlasting imprint on Black Theater's development.

Work

Wilson's best known plays are Fences (1985) (which won a Pulitzer Prize and a Tony Award), The Piano Lesson (1990) (a Pulitzer Prize and the New York Drama Critics' Circle Award), Ma Rainey's Black Bottom, and Joe Turner's Come and Gone.

Wilson stated that he was most influenced by "the four Bs": blues music, the Argentine novelist and poet Jorge Luis Borges, the playwright Amiri Baraka and the painter Romare Bearden. He went on to add writers Ed Bullins and James Baldwin to the list. He noted: "From Borges, those wonderful gaucho stories from which I learned that you can be specific as to a time and place and culture and still have the work resonate with the universal themes of love, honor, duty, betrayal, etc. From Amiri Baraka, I learned that all art is political, although I don't write political plays. From Romare Bearden I learned that the fullness and richness of everyday life can be rendered without compromise or sentimentality." He valued Bullins and Baldwin for their honest representations of everyday life.

Like Bearden, Wilson worked with collage techniques in writing: "I try to make my plays the equal of his canvases. In creating plays I often use the image of a stewing pot in which I toss various things that I’m going to make use of—a black cat, a garden, a bicycle, a man with a scar on his face, a pregnant woman, a man with a gun." On the meaning of his work Wilson stated "I once wrote this short story called 'The Best Blues Singer in the World,' and it went like this— “The streets that Balboa walked were his own private ocean, and Balboa was drowning.” End of story. That says it all. Nothing else to say. I’ve been rewriting that same story over and over again. All my plays are rewriting that same story."

The

Pittsburgh Cycle

Wilson's Pittsburgh Cycle, also often referred to as his Century Cycle, consists of ten plays—nine of which are set in Pittsburgh's Hill District (the other being set in Chicago), an African-American neighborhood that takes on a mythic literary significance like Thomas Hardy's Wessex, William Faulkner's Yoknapatawpha County, or Irish playwright Brian Friel's Ballybeg. The plays are each set in a different decade and aim to sketch the Black experience in the 20th century and "raise consciousness through theater” and echo "the poetry in the everyday language of black America". He was fascinated by the power of theater as a medium where a community at large could come together to bear witness to events and currents unfolding.

Wilson noted:

"I think my plays offer (white Americans) a different way to look at black Americans," he told The Paris Review. "For instance, in Fences they see a garbageman, a person they don't really look at, although they see a garbageman every day. By looking at Troy's life, white people find out that the content of this black garbageman's life is affected by the same things – love, honor, beauty, betrayal, duty. Recognizing that these things are as much part of his life as theirs can affect how they think about and deal with black people in their lives."

Although the plays of the cycle are not strictly connected to the degree of a serial story, some characters appear (at various ages) in more than one of the cycle's plays. Children of characters in earlier plays may appear in later plays. The character most frequently mentioned in the cycle is Aunt Ester, a "washer of souls". She is reported to be 285 years old in Gem of the Ocean, which takes place in her home at 1839 Wylie Avenue, and 322 in Two Trains Running. She dies in 1985, during the events of King Hedley II. Much of the action of Radio Golf revolves around the plan to demolish and redevelop that house, some years after her death. The plays often include an apparently mentally impaired oracular character (different in each play)—for example, Hedley Sr. in Seven Guitars, Gabriel in Fences or Hambone in Two Trains Running.

Chicago’s Goodman Theatre was the first theater in the world to produce the entire 10-play cycle, spanning from 1986 to 2007. Two of the Goodman’s productions—Seven Guitars and Gem of the Ocean—were world premieres. Israel Hicks produced the entire 10-play cycle from 1990 to 2009 for the Denver Center Theatre Company. Geva Theatre Center produced all 10 plays in decade order from 2007 to 2011 as August Wilson's American Century. The Huntington Theatre Company of Boston has produced all 10 plays, finishing in 2012. During Wilson's life he worked closely with The Huntington to produce the later plays. Pittsburgh Public Theater was the first theater company in Pittsburgh to produce the entire Century Cycle, including the world premiere of King Hedley II to open the O'Reilly Theater in Downtown Pittsburgh.

TAG - The Actors' Group, in Honolulu, Hawaii, produced all 10 plays in the cycle starting in 2004 with Two Trains Running and culminating in 2015 with Ma Rainey's Black Bottom. All shows were Hawaii premieres, all were extremely successful at the box office and garnered many local theatre awards for the actors and the organization.

Two years before his death in 2005, August Wilson wrote and performed an unpublished one-man play entitled How I Learned What I Learned about the power of art and the power of possibility. Recently produced at New York's Signature Theatre and directed by Todd Kreidler, Wilson's friend and protégé, How I Learned explores his days as a struggling young writer in Pittsburgh's Hill District and how the neighborhood and its people inspired his amazing cycle of plays about the African-American experience.

Personal life

Wilson was married three times. His first marriage was to Brenda Burton from 1969 to 1972. They had one daughter, Sakina Ansari, born 1970. In 1981 he married Judy Oliver, a social worker; they divorced in 1990. He married again in 1994 and was survived by his third wife, costume designer, Constanza Romero, whom he met on the set of The Piano Lesson. They had a daughter, Azula Carmen Wilson. Wilson was also survived by siblings Freda Ellis, Linda Jean Kittel, Donna Conley, Barbara Jean Wilson, Edwin Kittel and Richard Kittel.

Wilson reported that he had been diagnosed with liver cancer in June 2005 and been given three to five months to live. He died on October 2, 2005, at Swedish Medical Center in Seattle, and was interred at Greenwood Cemetery, Pittsburgh, on October 8, 2005, aged 60.

Legacy

The childhood home of Wilson and his six siblings, at 1727 Bedford Avenue in Pittsburgh was declared a historic landmark by the State of Pennsylvania on May 30, 2007. On February 26, 2008, Pittsburgh City Council placed the house on the List of City of Pittsburgh historic designations. On April 30, 2013, the August Wilson House was added to the National Register of Historic Places.

In Pittsburgh, there is an August Wilson Center for African American Culture.

On October 16, 2005, fourteen days after Wilson's death, the Virginia Theatre in New York City's Broadway Theater District was renamed the August Wilson Theatre. It is the first Broadway theatre to bear the name of an African-American.

In Seattle, WA along the south side of the Seattle Repertory Theatre, the vacated Republican Street between Warren Avenue N. and 2nd Avenue N. on the Seattle Center grounds has been renamed August Wilson Way.

Honors and awards

1986: Whiting Award for Drama

1987: Pulitzer Prize for Drama – Fences

1987: Tony Award for Best Play – Fences

1987: Outer Critics Circle Award – Fences

1987: Artist of the Year by Chicago Tribune

1988: Literary Lion Award from the New York Public Library

1988: New York Drama Critics Circle Award for Best Play – Joe Turner's Come and Gone

1990: Governor's Awards for Excellence in the Arts and Distinguished Pennsylvania Artists

1990: Drama Desk Award for Outstanding New Play – The Piano Lesson

1990: New York Drama Critics Circle Award for Best Play – The Piano Lesson

1990: Pulitzer Prize for Drama – The Piano Lesson

1991: Black Filmmakers Hall of Fame award

1991: St. Louis Literary Award from the Saint Louis University Library Associates

1992: American Theatre Critics' Association Award – Two Trains Running

1992: New York Drama Critics Circle Citation for Best American Play – Two Trains Running

1992: Clarence Muse Award

1996: New York Drama Critics Circle Award for Best Play – Seven Guitars

1999: National Humanities Medal

2000: New York Drama Critics Circle Award for Best Play – Jitney

2000: Outer Critics Circle Award for Outstanding Off-Broadway Play – Jitney

2002: Olivier Award for Best new Play – Jitney

2004: The 10th Annual Heinz Award in Arts and Humanities

2004: The U.S. Comedy Arts Festival Freedom of Speech Award

2005: Make Shift Award at the U.S. Confederation of Play Writers

2006: American Theatre Hall of Fame.

Plays

Recycle (1973)

Black Bart and the Sacred Hills (1977)

Fullerton Street (1980)

Jitney (1982)

Ma Rainey's Black Bottom (1984)

Joe Turner's Come and Gone (1984)

Fences (1987)

The Homecoming (1989)

The Coldest Day of the Year (1989)

The Piano Lesson (1990)

Two Trains Running (1991)

Seven Guitars (1995)

King Hedley II (1999)

How I Learned What I Learned (2002)

Gem of the Ocean (2003)

Radio Golf (2005)

Wikipedia

#August Wilson #04-27 #10-02

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jorgemarcelo · 4 years ago

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As primeiras super-heroínas das HQs

Sheena, a Rainha das Selvas foi a primeira personagem feminina de quadrinhos a ter uma série própria: em 1937 na Grã-Bretanha e em 1938 nos Estados Unidos. Foi publicada pela editora Fiction House e no Brasil, a EBAL publicou as estórias da moça.

Criada por Will Eisner e S.M. "Jerry" Iger no estúdio Eisner & Iger sob o pseudônimo de "W. Morgan Thomas", ela tinha o poder de se comunicar com os animais, assim como o Tarzan.

A personagem ganhou uma série em 1955 estrelada pela atriz/modelo Irish McCalla. Em 1984, a Columbia produziu um filme para o cinema a ex Pantera Tanya Robets. A Marvel publicou uma HQ com uma adaptação do filme para a revista ‘Marvel Comics Super Special #34 em Junho de 1984.

OLGA MESMER – A Garota com olhos de Raios-X

Olga Mesmer é uma personagem com superpoderes criada para a revista de quadrinhos Spicy Mystery Stories entre agosto de 1937 a outubro de 1938. Também conhecida como 'A Garota com olhos de Raios X', sua arte foi credita a Watt Dell do estúdio Adolphe Barreaux.

A visão de Raios-X de Olga quando sua mãe, Margot, habitante do planeta Vênus, foi exposta a uma experiência com radiação pelo pai, Dr. Hugo Mesmer. Além da visão, ela tinha super força.

Eram os mesmos poderes do 'Superman' que seria lançado um ano depois.

MAGICIAN FROM MARS – Centaur Publications’ Amazing-Man Comics

A primeira super-heroína meta humana da Era de Ouro das Histórias em Quadrinhos (1938-1956) foi Magician from Mars, criada por John Giunta e Malcolm Kildale para a Amazing-Man Comics #7 em Novembro de 1939. Metade humana e Metade marciana, Jane Gems35 ganhou superpoderes, como telecinesia depois que foi exposta a Raios Catódicos.

Ela chegou à Terra, furtou U$ 3 milhões em ouro e doou metade para um pediatra que pesquisava sobre paralisia infantil. Ficou com o restante. Depois, ela decidiu usar seus poderes para combater o crime.

Ela encerrou suas atividades em 1942.

MULHER GAVIÃO – All-American Publications / DC Comics

Criada por Gardner Fox (estória) e Dennis Neville (ilustrador), inicialmente, Shiera era o interesse amoroso de Carter Hall, Gavião Negro. Sua primeira aparição foi na revista ‘Flash Comics #1, em janeiro de 1940.

O arqueólogo Carter Hall sonhou que era o príncipe egípcio Quéops casado com a Princesa Chay-Ara. No dia seguinte, ele encontrou a jornalista Shiera Sanders, idêntica à dos sonhos.

De fato, eles eram encarnações dos príncipes que foram assassinados por Hath-Set, o sacerdote do Rei Anúbis, que usou uma faca com o Metal Enésimo. Em suas vidas posteriores, Quéops e Chay-Ara renasciam destinados a se encontrar e se apaixonar.

Assim, Carter assumiu a identidade de Homem Gavião e Shiera se tornou sua namorada. Como Moça Gavião (Hawkgirl) ela apareceu na revista All Star Comic#5, em julho de 1941.

Graças ao Metal Enésimo, Shiera dominou a gravidade, imortalidade, força sobre humana, fator de cura, garras perfurantes, telecinese com pássaros, regulação de temperatura corporal, reencarnação, entre outros.

Com a queda de popularidade dos super-heróis no decorrer da década de 1940, o casal encerra suas vidas na revista Flash Comics em 1949. Em 1956, a DC Comics ressuscitou o Flash com mudanças na identidade e origem dos personagens.

Na chamada Era de Prata, o casal reaparece na revista ‘The Brave and The Bold #34 em 1961, como agente da lei do planeta Thanagar, que chegam à Terra para prender um criminoso. Moça Gavião (Hawkgirl) vira Mulher Gavião (Hawkwoman). Shiera Hall vira Shayera Hol. Também ganhou uma maça (ou clava), capaz de afetar criaturas mágicas.

Com o estabelecimento do sistema de múltiplos universos da DC, Hawkgirl vivia na Terra-Dois, enquanto a Hawkwoman na Terra-Um.

Isso foi inicio de uma grande confusão que a DC penou para explicar posteriormente aos leitores.

Em agosto de 1999, a revista JSA Secret Files #1 trouxe a terceira versão é Kendra Saunders, sobrinha-neta e reencarnação da primeira Mulher-Gavião, foi criada por Geoff Johns e James Robinson.

FANTOMAH – Comic

Em fevereiro de 1940 surgiu Fantomah, ‘Misteriosa Mulher da Selva’ na Jungle Comic # 2. Criação do escritor-artista Fletcher Hanks, originalmente era uma princesa egípcia que foi reavivada no século 20 para proteger as selvas da África. Loira, Fantomah usava um traje curto, seguindo a tradição de outras heroínas / princesas da selva na visão dos artistas da época (Pensa: uma loira nas selvas?).

Quando lutava contra o mal se transformava numa mulher enorme, de pele azul e com uma cara de crânio. Nesta forma, Fantomah tinha poderes de feitiçaria ilimitados para lidar com as grotescas ameaças que tentavam destruir sua casa, a selva.

A série foi caracterizada pela arte elegante, mas com um roteiro desajustado (Pensa novamente: uma loira na Selva?). Por isso nunca ganhou popularidade. Com o tempo, Fantomah desapareceu na obscuridade.

THE WOMAN IN RED – Nedor Comics / America’s Best Comics

Março de 1940 nascia a The Woman in Red, criada por Richard E. Hughes (escritor) e George Mandel (desenhista), que apareceu no Thrilling Comics#2, publicada pelo Nedor Comics. A personagem ganharia um retrofit por Alan Moore para o America’s Best Comics.

Ela era a identidade secreta da policial Peggy Allen, que surge da frustração das limitações do seu trabalho. Como The Woman in Red, ela usa capa, capuz e máscara vermelhas.

Personagem regular da Trilling Comics, ela nunca apareceu numa capa. Sua última edição foi em fevereiro de 1945.

The Woman in Red ganhou um revival pela AC Comics na edição #29 do Femforce, em 1990. Em janeiro de 2001, foi revelado que ela era membro da SMASH, uma liga de super-heróis que estavam em estado de paralisia depois de uma invasão alienígena da lua em 1969. Ela foi reanimada 30 anos graças aos poderes de Tom Strong.

Originalmente, ela não tinha superpoderes, usando habilidades no combate mão-a-mão. Porém, quando ressurgiu, graças a posse um Cristal de Rubi, ela começou a voar e projetar energia.

A historiadora Trina Robbins identificou a personagem como a Primeira Heroína Mascarada do combate ao crime.

INVISÍVEL SCARLET O'NEIL - Chicago Sun-Times Syndicate

A primeira 'aparição' da Invisível Scarlet O'Neal aconteceu nas tiras do jornal Chicago Sun em junho de 1940. Criada por Russell Stamm, ela é considerada a primeira Super Heroína com o poder da Invisibilidade. Sua primeira participação em revista foi na Famous Funnies # 81 em abril de 1941.

A repórter Scarlet adquiriu poderes quando espetou seu dedo num raio de uma máquina criada por seu pai cientista, no qual ficou invisível. Ela acionava o poder ao pressionar um ponto no pulso esquerdo. Inicialmente, ajudava crianças e pessoas em perigos. Depois, a polícia no combate ao crime, além de caçar espiões nazistas e sabotadores japoneses.

No auge do sucesso, ela estava em tiras de mais de 100 jornais no país, além de ganhar versões em bonecas de papel. Também participava de aventuras na revista ‘Black Cat Comics’. Ganhou versões em impressos da Austrália e México, onde era conhecida como “La Invisible Escarlata”.

Com a perda da popularidade das HQs na década de 1950, Russell Stamm retirou a palavra 'Invisível' e as estórias de heroína de Scarlet perderam o foco para centralizar nos seus problemas pessoais. Assim, em 1953, ela ganhou um interesse amoroso, Stainless Steel, um xerife. Um ano após essa mudança, o moço se tornou o protagonista e Scarlet só aparecia ocasionalmente. Em 1956, a HQ foi cancelada.

Ela também apareceu em outras publicações da Harvey Comics, assim como na Big Little Books. Em 2007, o Atlantis Studios lançou um especial chamado Untold Origins of Invisible Scarlet O'Neal.

Em 2012, Scarlet ganhou um retrofit de Russell Stamm Jr (estória), Wendell Cavalcanti (lápis) e Rob Jones e Elton Thomasi (tintas) para uma Graphic Novel da New Legends Productions.

Ganhou uma homenagem de Barbara Lhota em Babes With Blades em 2017.

GALE ALLEN – Fiction House

Na edição número #4 da Planet Comics (abril 1940) surgiu Gale Allen, uma princesa Venusiana, descendente do Rei Rogert, o primeiro terráqueo a posar no planeta Vênus.

Gale se tornou agente da Universal Space Patrol e viajou pelas galáxias combatendo a injustiça. Tornou-se Capitã do Esquadrão de Garotas (‘The 40th Women’s Space Battalion), composto por mulheres soldados e pilotos. O quartel general da heroína ficava em Vanam, a capital do planeta Vênus.

Ela lutou contra o Mestre Maluco de Vênus e principalmente com o Príncipe Blaga Daru, um ditador que desejava conquistar a Terra e transforma-la em sua companheira.

Durante um dos combates com Daru, a moça se tornou a Comandante da Força Aérea dos EUA.

Suas primeiras aventuras se passavam em 1990 e as últimas aconteceram na metade do século 21.

Criada por Douglas McKee (estórias) e Bob Powell (ilustrador), Gale apareceu em todas as edições entre os números #4 e #42 da Planet Comics.

LADY LUCK / Quality Comics / DC Comics

Criada por Will Eisner e Chuck Mazoujian, Lady Luck surgiu em tiras de jornais de domingo entre junho de 1940 a novembro de 1946. Suas aventuras foram reproduzidas em gibis publicados pela Quality Comics. Em 2013, a personagem voltou repaginada em 'Phantom Stranger' da DC Comics.

Lady Luck era o alter ego de Brenda Banks, uma rica herdeira de família irlandesa americana. Rejeitando a futilidade do seu círculo de amigos, ela treinou artes marciais e vestiu vestido, chapéu e véu verdes como máscara. Em algumas versões, apareceu com um chapéu azul.

Trabalhando para o incompetente policial Feeny O'Mye e flertando com o chefe da policia Hardy Moore, Lady Luck não tinha poderes especiais.

A partir de 1942, ela ganhou um motorista particular italiano chamado Peecolo.

Lady Luck conseguiu 84# posição na lista das ‘100 Mulheres Mais Sexies das HQs’.

VIÚVA NEGRA (Claire Voyant)- Timely Comics

Com o nome de Claire Voyant, a primeira personagem com o nome de Viúva Negra apareceu em Mystic Comics #3, em agosto de 1940, revista da Timely Comics (tornou-se Marvel em 1961).

Foi criada por George Kapitan (estória) e Harry Sahle (ilustrador), ela não tem nada a ver com a famosa espiã Natasha Romanova, criada em abril de 1964.

Claire era uma médium, que depois de morta, ganha poderes graças a acordo com Satanás com o intuito de matar seus opositores oferecendo suas almas para o mestre.

A primeira versão da personagem apareceu em cinco revistas da chamada Era de Ouro das HQs entre 1940 e 1943.

Seus poderem incluíam Força Super humana, Resistência, Capacidade de Voar, Teletransporte, Indução Mental, Invisibilidade, Mudança de Aparência, Toque da Morte, Imortalidade e Capacidade de se comunicar com mortos.

Claire voltaria a aparecer num flashback na edição especial #1 da minissérie ‘A Time of Marvels’, em janeiro de 1994. Voltou em novo flashback numa estória do Homem Aranha ‘The Last Stand’, da série ‘Marvel Knights’, em fevereiro de 2005.

Finalmente, ganhou 12 edições de ‘The Twelve’ no começo de 2008, tornando-se conhecida pelas gerações atuais.

PHANTON LADY – Quality Comics / Fox Features Syndicate / DC Comics

Criada pelo Estúdio Eisner & Iger e desenha por Arthur Peddy, a primeira versão de Phanton Lady foi na pele de Sandra Knight, filha de um senador americano que morava em Washington, D.C.. Sua primeira aparição foi no Police Comics #1, em agosto de 1941.

Usando um maiô amarelo com capa verde, ela tinha o poder de cegar seus inimigos e ficar invisível graças a uma luz de raio negra. Seu carro emitia a mesma luz. Eventualmente ela ajudava seu noivo, Donald Borden, um agente do governo americano.

Depois que a Quality Comics deixou de publicar novas estórias com a heroína, a Iger Studios, que acreditava em seu potencial e assinou com a Fox Feactures Syndicate. Sua estreia aconteceu em Phanton Lady #13, no qual ganhou status de ‘Good Girl Art’ de Matt Baker – ilustrações com mulheres em trajes mínimos – o conceito original das Pinup. O ilustrador alterou seu uniforme, mudando as cores, ajustou o decote e o shorts-saia o máximo que pode.

Com isso, a personagem entrou na 49# posição na lista das ‘100 Mulheres Mais Sexies das HQs’.

Outras versões de Phantom Lady foram Delilah ‘Dee’ Tyler (janeiro de 1989), Stormy Knight (2006) e Jennifer Knight, em maio de 2012, na DC Comics.

MULHER MARAVILHA – All-American Publications / DC Comics

Parte da Santíssima Trindade das HQ (junto com Superman e Batman), a mais famosa heroína da história nasceu em dezembro de 1941 na revista All Star Comics#8, escrita pelo psicólogo William Moulton Marston, sob o pseudônimo de Charles Moulton e pela advogada Elizabeth Marston, sua esposa. Foi desenhada por Harry G. Peter.

A estória ganhou continuação no mês seguinte. Com o sucesso alcançado, ganhou sua primeira HQ Wonder Woman #1 em maio de 1942.

Super força, Invulnerabilidade, Fator de Cura, Sentidos Aprimorados, Agilidade Sobre-Humana, Projeção e Manipulação de Energia, voo, super velocidade e imortalidade são os poderes da Princesa Diana de Themyscira – Deusa da Verdade e da Guerra.

O principal diferencial perante as outras super-heroínas é que ela não é um spin-off de um super-herói masculino (como Supergirl e Batgirl), nem foi criada para ser o interesse de amor de um super-herói masculino (Mulher-Gavião, Miss Marvel, Bulletgirl, Batwoman), parente (Mary Marvel, Mulher-Hulk), token de equipe (Mulher-Invisível, Garota Marvel) ou femme fatale (Mulher-Gato, Viúva Negra). Ela foi criada com estória própria, no qual, a tornou mitológica.

Gal Gadot estrelou o filme solo de 2017, que rendeu U$ 821,847 milhões de bilheteria em todo o mundo.

Antes, Lynda Carter estrelou uma série de TV entre 1975 a 1979.

MISS FURY – Bell Syndicate / Timely Comics / Marvel

Originalmente conhecida como The Black Fury, a primeira aparição de Miss Fury foi em 06 de abril de 1941 em tiras numa edição dominical de jornais distribuídos pelo Bell Syndicate. Seu nome foi modificado para Miss Fury em novembro do mesmo ano. É a primeira heroína criada por uma mulher, Tarpé Mills, cujo nome real era June, que ela foi obrigada a omitir para conseguir publicar seu trabalho.

Uma noite, a socialite Marla Drake descobriu que sua amiga Carol usará uma fantasia igual a sua para um Baile de Máscaras. Com ajuda de sua criada, Francine, ela prepara um justíssimo macacão feito da pele de uma pantera vinda de um ritual vodu feito por um feiticeiro africano. Ela acrescentou luvas com garras de gato e saltos altos e afiados (stilettos).

Miss Fury combatia vilões, como o cientista maluco Diman Saraf e agentes nazistas, como Erica Von Kampf e General Bruno.

Emora muito popular, na época, o revelador uniforme era muito polêmico. Quando Marla ganhou um biquíni em 1947, 37 jornais se recusaram a publica-la.

A Timely Comics (antes de se tornar a Marvel Comics) utilizou suas tiras em oito revistas entre 1942 a 1946. Em 1979, ela ganhou uma Graphic Novel pela Archival Press.

Em 2011, as tiras publicadas entre 1944 e 1949 foram reunidas na ‘The Library of American Comics’. Uma segunda edição foi feita em 2013 acrescentando tiras de 1941.

PANTERA NEGRA / BLACK CAT – Harvey Comics

A revista Pocket Comicas foi uma publicação da Harvey Comics de 1941 a 1951. Entre suas personagens, Pantera Negra / Black Cat, alter ego de Linda Turner, filha do astro do cinema mudo Tim Turner. Ágil, inteligente e dominando combate corpo-a-corpo, a personagem foi criada por Al Gabriele.

Inicialmente, Linda era dublê e logo se tornou estrela de cinema. Durante as gravações de um filme, ela suspeitou que o diretor poderia ser um espião nazista. Para investiga-lo, ela recorreu a um uniforme – blusa, shorts, luvas, botas e máscara azul. Dirigia uma motocicleta e também sabia cavalgar.

Somente em 1946 que ela ganhou sua própria prevista, Black Cat Comics #1 e contou com 29 edições até 1951.

Black Cat entrou no lugar #41 na lista da ‘100 Mais Sexys Mulheres das HQs’, criada pelo Comics Buyes Guide’s.

38 anos depois, a Marvel Comics apresentou Felicia Hardy como Black Cat na revista do Homem-Aranha ‘The Amazing Spider- Man’ #194 em Julho de 1979. A personagem não tinha qualquer ligação com a clássica da Era de Ouro.

MARY MARVEL – Fawcett Comics / DC Comics

Apesar do sobrenome, Mary Marvel pertence a DC Comics, que adquiriu os direitos quando comprou a Fawcett Comics. Criada por Otto Binder e Marc Swayze, sua primeira aparição foi na revista As Aventuras do Capitão Marvel #18, em dezembro de 1942.

Originalmente, Mary era parecida com a atriz Judy Garland (‘O Mágico de Oz’). Era a irmã desaparecida de Billy Batson (o garoto que se transformava no Capitão Marvel). Seus poderes incluíam a Sabedoria de Salomão, a Força de Hercules, a Invulnerabilidade de Atlas, o Poder de Zeus, a Coragem de Aquiles, a Velocidade de Mercúrio e o poder de tele transporte.

Pouco antes do cancelamento das aventuras da família Marvel em 1953 (por questões de direitos autorais envolvendo a Fawcett Comics e a National Comics – antes de se tornar DC Comics), o uniforme de Mary foi modificado: decote, cabelos mais curtos e flats no lugar das botas.

Mary voltaria em 1972, na primeira publicação oficial da DC até 1978, quando foi cancelada.

Voltaria em 1994 na revista ‘The Power of Shazam!’. Entraria para o moderno universo da DC somente no ano seguinte com ‘Power of Shazam!’ #4.

Em ‘Power of Shazam! #28 quando adotou o branco com detalhes em dourado. Em 2006 ganharia uma versão com uniforme preto. Em ‘Final Crisis’, Mary surgiria com look S&M com direito a cabelo punk. Foi sua versão ‘do mal’, graças à contaminação de um vírus.

No reboot da DC Universo em 2011, Mary voltaria a ter o visual de adolescência usando o tradicional (modernizado) uniforme vermelho com capa e capuz brancos.

MOÇA BALA – MULHER BALA – BULLETGIRL – Fawcett Comics

Susan Kent era filha de um sargento da policia, que frequentemente trabalha com cientista forense James Barr. Ela se torna assistente do laboratório e logo descobre que ele é o Homem Bala – Bulletman.

Ele desenvolveu uma fórmula capaz de eliminar as toxinas que fazem o ser humano enveredar pelo crime. Usando a fórmula em si mesmo, Jim sofreu um efeito colateral, tornou-se musculoso e com a capacidade intelectual aumentada. Ele criou um capacete capaz de fazê-lo controlar a gravidade a seu redor, permitindo-lhe voar e fazer projéteis se desviar dele.

Ele criou outro capacete e Susan se torna a Mulher Bala / Bulletgirl e começam a atuar juntos no combate ao crime. A primeira aparição da dupla aconteceu na revista Bulletman # 1 em junho de 1941. Último exemplar foi a edição #16 em setembro de 1946.

Na época, a dupla só perdeu em sucesso ao Capitão Marvel e a família Marvel. Mesmo depois do cancelamento da revista própria, a dupla apareceu em outras sagas, como membros do Comando Invencível /All Star Squadron, Lanterna Verde, Starman e no citado Capitão Marvel.

Na revista The Power of Shazam! #32, James e Susan ganham uma filha chamada Deanna Barr, que herda o capacete da mãe. Ela se juntou ao pai na última aventura para salvar a família Marvel das garras do vilão Chain Lightning.

Em 2005, a nova Mulher Bala / Bulletgirl se tornou Bulleteer, porém, sem qualquer ligação com o casal original. Apesar disso, Susan Barr fez uma aparição especial para visitar sua sucessora na edição # 3 de Grant Morrison’s Seven Soldiers of Victory.

O casal volta a aparecer nas revistas da Crise do Infinito.

SPIDER WIDOW – Quality Comics

Criada por Frank Borth, Spider debutou na revista Feature Comics #57, em junho de 1942. Ela era a identidade secreta de Dianne Grayton, uma milionária atleta que decide combater criminosos e espiões estrangeiros depois que descobriu o poder de controlar aranhas Viúva Negras. Poderes nunca explicados pelo escritor.

Ela encontra no seu sótão uma fantasia de uma velha bruxa - máscara de borracha, vestido preto e um chapéu cônico. Ganhou o subtítulo de ‘A Avó do Terror’.

Numa época no qual as heroínas eram lindas e curvilíneas, Spider Widow foi uma das poucas que subverteu o estereotipo.

Ao lado de Phantom Lady, Spider apareceu nas revistas Feature Comics #69-71 e Police Comics #20-22.

A última batalha da personagem foi em outubro de 1943.

MISS AMERICA - Quality Comics / DC Comics

Em agosto de 1941, a repórter Joan Dale aguarda uma fonte (um informante) na Estátua da Liberdade. Enquanto espera começa a ter alucinações no qual a 'Estátua' conversa... E conta que ela se tornará uma protetora da justiça graças ao poder que ganhou.

Mas... Na realidade, ela foi drogada pelo informante - agente do governo americano.

Ela foi objeto do Projeto M que lhe deu superpoderes, porém, como acharam não deu certo a deixaram na Estátua da Liberdade.

Seus poderes eram Manipulação de Energia, Poder de Voar, Imortalidade e Regeneração física.

Vestiu um traje com tema da bandeira americana e começou a combater o Mal como Miss America.

Meses depois, juntou-se ao Tio Sam e os Combatentes da Liberdade / Uncle Sam e Freedom Fighters no combate contra o Japão após o ataque de Pearl Harbor.

Criada por Elmer Wexler, sua primeira aparição foi na revista Military Comics #1, em agosto de 1941. Permaneceu por sete edições até cair no esquecimento até a Timely Comics (antes de virar Marvel) criar outra personagem com o mesmo nome em 1944.

Em 1980, o escritor Roy Thomas reviveu a personagem em 'Freedom Fighters' da saga All-Star Squadron.

Depois apareceu em The Sandman #57, na nova versão de Tio Sam e os Combatentes da Liberdade e estrou no Novo 52 em Human Bomb #2, no qual morre durante uma missão.

Chama / Wildfire - Quality Comics / DC Comics

Criada por Jim Mooney, Wildfire apareceu pela primeira vez no gibi "Smash Comics" #25 (1941) como a orfã que foi salva de um incêndio pelo deus do fogo, que lhe concedeu os poderes sobre as chamas.

Ruiva e usando calças vermelhas, a personagem foi planejada para estrelar na série 'All-Star Squadron', porém, a DC se negou, pois tinha um herói com o mesmo nome.

A personagem chegou a ser publicada no Brasil da época. O desenhista Jim Mooney calcou o visual da heroína na aparência de sua primeira mulher.

Miss Victory - Helnit Publishing Co

A primeira aparição da super-heroína Miss Victory aconteceu na revista Captain Fearless #1 em agosto de 1941, publicado por Frank Z. Temerson para a Helnit Publishing Co.

Criada por Charles Quinlan, Miss Victory era o alter ego da secretária e estenógrafa Joan Wayne, que trabalhava para um departamento do Governo. Ela era assistente do Dr. Mark Benton do Projeto Colorado, que desenvolveu um composto químico chamado V-45 com a proposta de criar super soldados.

Joan tomou o composto, ganhou força sobre-humana, invulnerabilidade e poder de voo. Assim, tornou-se uma super agente do governo americano sob o nome de Miss Victory.

Dois anos depois, ela liderou um grupo de mulheres chamado FemForce, ao lado de Blue Blulleteer, She-Cat e Rio Rita.

A primeira versão de Miss Victory foi publicada de 1941 à 1946. Ela ganharia nova versão em 1984.

LIBERTY BELLE – DC COMICS

Liberty Belle é o nome de três super-heroínas das HQs. Duas são da DC Comics: Libby Lawrence e Jesse Chambers e a outra é Caroline Dean, da Charlton Comics.

De origem polonesa, Libby fugiu da Alemanha depois que o pai foi assassinado pelos nazistas. Na viagem para França, seu barco é destruído, obrigando-a a nadar para chegar na Inglaterra. Tornou-se repórter até se tornar apresentadora de um programa de TV. Quando conheceu Tom Revere ganhou uma réplica de um Sino da Liberdade da Filadélfia, que lhe deu poderes de velocidade, força e resistência.

Quando ela se casou com Johnny Quick, ela integrou o All-Star Squadron. Eles tiveram uma filha: Jesse Quick.

Criada por Jack Kirby, Libby estreou na revista Boy Commandos #1, em dezembro de 1942. Esteve na segunda edição da revista, depois migrou para a Star Spangled Comics # 20, em maio de 1942, ficando até maio de 1947.

Em 1981, a DC relançou All-Star Squadron #1 no primeiro capítulo do livro Justice League of America # 193 escrita por Roy Thomas. Ele a incluiu como integrante do Terra 2, criada no lugar da Mulher Maravilha.

Libby foi inspirada nos traços da atriz dos anos 40, Veronica Lake.

Foi incluída na posição #63 na lista da ‘100 Mais Sexys Mulheres das HQs’, criada pelo Comics Buyes Guide’s.

Em outubro de 2016, a versão adolescente de Liberty Bell apareceu na revista DC Super Hero Girls: Past Times at Super Hero High, ao lado da Barbara Gordon, Harley Quinn, Katana, Poison Ivy, Supergirl e Mulher Maravilha.

CANÁRIO NEGRO – DC COMICS

Dinah Drake foi a primeira Canário Negro das HQs. Criada por Robert Kanigher (estória) e Carmine Infantino (ilustrador), ela estreou na revista Flash Comics #86, em agosto de 1947.

Forte e misteriosa, ela tornou-se conhecida como ‘o novo arquétipo da heroína do Filme Noir’ - expressão francesa designada a um subgênero de filme policial, derivado do romance de suspense influenciada pelo expressionismo alemão, o qual teve o seu ápice nos Estados Unidos entre os anos 1939 e 1950.

Usando maiô, jaqueta de couro, botas e meia-arrastão, inicialmente, Dinah era anti-heroína. Na Flash Comics #92 (Fevereiro de 1948) tornou-se heroína no combate ao crime, ao lado do namorado, o detetive Larry Lance na Gothan City. Eles são os pais de Dinah Laurel Lance, que se tornaria a segunda Canário Negro pós a Crise dos Mundos.

Dinah integrou a Sociedade da Justiça, primeiro grupo de super-heróis americanos das HQs, lembrado na série ‘Stargil’.

Na série ‘Arrow’, Dinah Drake é uma agente policial que ganha poderes graças a uma explosão no laboratório STAR. Tornou-se meta humana com poderes sônicos.

VENUS – Marvel

Originalmente, a personagem criada por Stan Lee (estória) e Ken Bald (ilustrador) era baseada na deusa grega Vênus (Afrodite na romana); porém, mais tarde foi revelada que era uma sereia. A primeira versão do personagem apareceu na revista Venus #1, em agosto de 1948.

Nas primeiras 19 edições, ela era do planeta Vênus que ao chegar à terra assumiu a identidade da jornalista e editora da revista Beauty, Victoria ‘Vicki’ Nutley Starr. Ela ajudava pessoas que se separavam. Seus poderes eram voz hipnótica, voar, manipulação imortalidade, adaptação aquática e habilidade de metamorfose.

Era uma comédia leve com toques de fantasia, porém mudou com temas mais pesados ligados ao universo do Terror e seres Malignos. Ela dividiu espaço com Hercules, Zeus, Satã, Thor e Loki (primeira aparição de ambos).

Vênus sumiu por 20 anos até ser resgatada na revista Sub-Mariner # 57, em janeiro de 1973 como uma pessoa que manipula Namor a atacar Ares, que a desejava como amante. Nessa época, ela mudou de figurino, que incluía maiô e um ousado vestido branco.

Ela está no oitavo lugar na lista das ‘100 Mulheres Mais Sexys das HQs’ elaborada escritor Brent Frankenhoff para o Comic’s Buyer’s Guide’s, em outubro de 2011.

PEQUENA POLEGAR / DOLL GIRL – Quality Comics

Martha Roberts era a bonita filha do Professor Roberts, que empregava o jovem Darrel Dane em seu laboratório de pesquisa. No verão de 1939, ela foi chantageada por um criminoso chamado Falco graças às cartas de amor que escreveu para um antigo professor. Em seguida, ela é sequestrada.

Graça a um acidente no laboratório, Darrel adquiriu o poder de manipular o tamanho do seu corpo. Com isso, ele salva Martha.

Decide combater o crime com o nome de Pequeno Polegar/Doll Man. Ela se torna sua assistente, assim como esposa. Anos depois, para auxiliar Darrel, ela adquire o mesmo poder, tornando-se Pequena Polegar /Doll Girl.

Criada por Chic Stone, Jerry Iger e Will Eisner na Era de Ouro, ela apareceu como Martha Roberts na revista Doll Man #27, em 1939, mas só apareceu como Doll Girl 12 anos depois, na Doll Man #37, em dezembro de 1951.

Com o final da Quality Comics em 1956, os personagens sumiram de cena. Pequeno Polegar foi resgatado como membro da Freedom Fighters na revista Liga da Justiça – Justice League of America #107 em outubro de 1973. Martha volta a ser citada em outras revistas, porém, uma outra versão Pequena Polegar rapidamente apareceu na revista Mulher Maravilha (vol. 2) # 174.

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