#p: josephine baker

[perfectday1972]

josephine baker at the london palladium, 1974 via retrokingdanny

[little-desi-historian]

Black Historical Figures I think are cool af!

Happy Black History Month! Below the cut you’ll find a list of 10 black historical figures I think are super cool (and often overlooked in favour of their white/non-black counterparts) all of the figures are inspirational to me in some way and I think anyone can learn from their examples, regardless of race.

Dido Elizabeth Belle aka Dido Belle Lindsay - staying the course of your beliefs, knowing you deserve better. Knowing what’s right is more than possible.

Joseph Bologne, Chevalier de Saint-George(s) - don’t let anyone take your talents and passions from you. Those who treat you wrong don’t deserve you.

Phillis Weatly/Phyllis Weatly - no matter what you’ve been subjected to, don’t let anyone take your voice from you.

James Armistead Lafayette - fight (spy) for what you believe in. You may turn out to be the most powerful piece in the fight.

Harriet Tubman - no matter the evils of the world, there are good people out there, don’t forget your strengths and allies.

Freda Josephine Baker (née McDonald) best known simply as Josephine Baker - dance and keep dancing, no matter how bad things are. You only live once.

Bessie Coleman - pursue your dreams no matter who tells you that you can’t. You may match them in renown yet.

Gladys Bentley - wear what you want, speak how you want, and love whomever you choose.

Marsha P. Johnson - be here, be queer, and speak truth to power.

Maya Angelou born Marguerite Annie Johnson - write, write, write, oh… and don’t fear life.

[blacclotusss]

“That period with Paris specifically was seen as a safe space for Black artists,” he says. “Louis talks about being welcomed there and not being a victim of America's particular brand of racism. Especially if you have a gift, if you're exceptional in some way, you have a space here, and that's not lost on Louis.” Anderson says the team had discussions about this ultra-specific slice of representation, and he even lobbied to take it further than what’s seen on screen and make the subtext even more overt. “I wanted Josephine Baker in the show,” he says. “There was a point early on when we were talking about what Season 2 would be like, Louis was going to make friends with [famed photographer] Gordon Parks and be kind of like his human companion. There wasn’t time, but there's some inspiration from him and James Baldwin’s experiences in Paris.”

[prac-ticalproblems]

suggestion based off your post asking for suggestions: what do you think all their favorite albums would be. mind you they’re in the late 1960s so like it would be an album they liked so much they would save up and buy the record. lord knows music was an arm and a leg for 10 tracks. I’m thinkin engie might be into Johnny Cash, definitely bein into At Folsom Prison and probably also Townes Van Zandts self titled album when they came out in 1969. Scout would probably be a Chuck berry fan. I can also see him knowing how to dance to 40s big band music because his ma used to dance with him in his brothers in the living room as kids but he would be embarrassed about that one. Soldier would HATE the Beatles. and I have no idea about everyone else.

You. You get it. I’m gonna squeeze you. /pos

I love this ask so much I am going to do 60’s AND make it regional and Historical! Because we are syncing brain waves rn. (With a little bit of karaoke headcanonz)

1960’s music w the mercs

Medic - I believe that Medic is a very chaotic music lover. He has a background of classical in some way, with his fascination for it in the game and it’s bled outward into loving loud booms and the thrill of it speeding up.

So maybe some early forms of rock? Especially if it’s Peggy Peter’s. He sings like shit though.

Heavy - I’m not going to lie, this immediately came to me. Heavy loves pop. Heavy loves a bouncy little jig that he can play while cleaning Sasha. He probably got it from his sisters. I also believe that he has a very strong sense of political beliefs about his country so pop that has a message.

Definitely Edita Piekha. 100%. Lovely vocals from the gods. A little rattling, but He is a perfect bass.

Scout - HE WOULD LOVE CHUCK BERRY. That man hums ‘My Ding-a-ling’ as he showers. Absolutely.

He has Sex Bomb tattooed, but I’m sure his favorite Tom Jones song is actually It’s Not Unusual. He screeches when he sings instead of singing higher.

Demo - I see him being into much older songs for his age (he’s like nearly 30) just because of the way his mother raised him. I think he’s got an older soul than he thinks. So 1940’s swing and soul. Strong believer that he has more than a few albums that he cherishes, but most of them are from his mom.

He cries every time he puts it on though, just to let the feelings out. When he’s drunk, he sings terribly, when he’s sober? Probably still a little bad but he doesn’t know his range and doesn’t care if he’s tone deaf.

Pyro - I have personal ideas about Pyro that makes me think he is a huge Jimi Hendrix fan. I refuse to explain or elaborate as I will be here all day.

All Along the Watchtower. He bounces whenever it’s played.

Sniper - Jazz. I know it’s an easy answer, but it’s also THE RIGHT ONE. I think he’s very much a “nod his head and listen” type of music lover as a posed to “can’t stop moving” sort of guy.

He also probably prefers wordless music, for focus, and lyrics in music when he’s alone. (He is dancing in his room when no one’s around.)

Soldier - FUCKING HATES THE BEATLES. I’m almost tempted to say the only thing he listens to is music about WAR. But he’s probably into punk music. But I’m sure he fucks up and listens to anti war songs instead of actual war songs. So he’s accidentally listening to ‘hippie music’. No one has the will to explain it to him.

His favorite song is probably Gene Stridel - What do you win when you win a war. But only when he’s more self aware, more aware of his situation. It comes and goes. Soldier refuses to sing the song, ever. But it’s close to his heart, even if he sometimes doesn’t know why.

Spy - secretly a hippie. Definitely into Yé-yé, a type of french-ized version of British pop/exotica (like THE BEATLES.) He shows Soldier his music taste and it sends him into a rage. I think he takes pleasure in it.

Especially Baroque Yé-yé. Very Spy feely. Also Scout’s mom has probably shown him some Josephine Baker, and he likes it. Sings in a snooty little voice but it sounds pleasant enough. He thinks he’s the best singer in the team. (it’s heavy)

Engineer - GOD, you’re so right. Johnny Cash is the most fitting for him. I feel like he’s definitely a music sharer and taker. He carries songs from the people who he loves around with him. I think his mom loves Tammy Wynette and it’s crossed over to him.

Rip, you stupid fuck, you would have loved Poor Man’s Poison. He probably does that thing where they end off words in country with like a howl, instead of just ending the sentence.

[sbrown82]

THE FULL HISTORY OF THE MICK JAGGER & MARSHA HUNT (A.K.A. “BROWN SUGAR”) RELATIONSHIP!!! (PART 1)

First, some background on the model, singer, actress, novelist, playwright, activist, icon, 60s goddess, and the woman who inspired one of The Rolling Stones’ greatest hits, “Brown Sugar”, Marsha Hunt. She is often described as London’s own Josephine Baker and is celebrating her 77th birthday today!:

Marsha A. Hunt was born on April 15, 1946 in Philadelphia, Pennsylvania and is the youngest of 3 children. Her mother, Inez “Ikey” Hunt, worked in an airplane factory during World War II, and her father, Blair Hunt Jr. graduated from Harvard and became one of America's first Black psychiatrists.

Marsha was raised in a middle-class neighborhood mostly by her mother, aunt, and grandmother who had roots in the deep south (Mississippi delta) and who she’s described as an “extremely aggressive and ass-kicking independent woman.” Her father committed suicide when Marsha was 9 years old (but she never found out how or why).

After moving out west to California with her family, she graduated high school at the top of her class and later attended UC, Berkeley in the mid-’60s where she wanted to study psychological anthropology.

While at Berkeley, she became friends with a slew of interesting people like activist Mario Savio and Huey P. Newton, who later became one of the founders of the Black Panther Party.

[TOP LEFT: Marsha’s mother Inez Hunt; TOP RIGHT: Marsha’s father, Blair Hunt Jr.; BOTTOM LEFT: Marsha at her home in Philly with her father & siblings, Pamala & Dennis; BOTTOM RIGHT: Marsha’s high school graduation photo in 1964.]

Even though she thrived academically and was very involved in student activities, she became bored with college life and wanted to experience life outside of the country and pursue her real passion – music. In early 1966, she sold her car and some books, and trailed off to London with only $1.83 in her pocket.

Around that time, London was THE city to be in, and was even dubbed “Swinging London” for being the epicenter of art, culture, fashion and of course music, especially due to the popularity of famous acts like The Beatles and The Rolling Stones.

When Marsha first arrived, she slept on the floors of mutual friends, took odd jobs (including one as an au pair), and even appeared as an extra in Michelangelo Antonioni's box office hit film, “Blow-Up,” which also featured the British rock band, The Yardbirds.

SHOCKINGLY, in that same year she actually saw The Rolling Stones in concert for the first time during their UK tour at the Royal Albert Hall in London because she wanted to see Ike & Tina who were the supporting act on the bill. Girls were going crazy over the Stones, but of course, she was more impressed by Tina’s show-stopping performance! (Purrrrr 💅🏿)

[LEFT: Marsha in 1966; RIGHT: The Rolling Stones performing at the Royal Albert Hall in London with Marsha in attendance.]

After roaming the city, making new friends, and trying to find steady work, Marsha ended up auditioning for a blues band fronted by British blues musician, Alexis Korner, who was looking for backup singers. Coincidentally, he was the exact same guy who gave The Rolling Stones their start back in 1962. Later on, she was offered another backing gig for Long John Baldry’s band, Bluesology. John is also a longtime friend of The Beatles and The Rolling Stones.

Though she loved music and worked really hard at it, Marsha always claimed that she was never a good singer. People in England just assumed she was because they thought all Black Americans had talent.

She then lived with English blues singer, John Mayall, who actually wrote a few songs about her including, “Marsha’s Mood” and another song coincidentally called “Brown Sugar”. Around this time, she became good friends with the founding members of Fleetwood Mac, famed British artist Kaffe Fassett, and keyboard player for Bluesology, Reg Dwight (a.k.a Elton John).

[LEFT: 19 year old Marsha sporting a wig in London; RIGHT: Marsha with a young Elton John].

Around the time Marsha broke things off with John, he was also putting a new band together, which included a young guitarist named Mick Taylor, who showed up at the audition without a guitar. He later became another good friend of Marsha’s.

In late 1966, Marsha met musician Mike Ratledge from the British rock band, Soft Machine. At the time, she was having trouble getting a visa extension to stay in England, so the two got married on her 21st birthday. She later claimed it was a marriage in name only as they were not romantically involved and “never held hands and never kissed".

[LEFT: Guitarist Mick Taylor & John Mayall in the mid-60s; RIGHT: Marsha’s “husband” Mike Ratledge of Soft Machine.]

That same year, Marsha’s hair started to fall out from using chemical relaxers, and after wearing wigs for a while, she finally cut it all off and vowed to never straighten it again. Hence, why she started sporting her iconic afro hairstyle which made her quite a showstopper in London.

In 1968, she found luck when she was cast in a buzzy new rock musical with an ensemble cast called “Hair.” The musical became an instant hit in London’s famed West End. And even though her character “Dionne” only had two lines, she suddenly became the face (or the hair) of “Hair”. The show was a huge success, and also became quite a sensation and a social landmark because it highlighted controversial subjects like drugs, casual sex, profanity, nudity, and anti-war rhetoric. While there, she met another close friend, actor Tim Curry.

[BOTTOM: A poster of the hit musical “Hair” that debuted in the Shaftesbury Theatre in the West End, 1968.]

Her life completely changed overnight and she instantly became a PHENOMENON, attracting wide media attention. In fact, after the musical’s opening night, the editor of British Vogue sent her a huge bouquet of flowers and wanted her to pose for a photo session, which ended up being a 4-page spread with a written profile. Marsha was also the first Black woman to appear on the cover of Queen magazine as well.

[LEFT: Marsha pictured as the first Black woman on the cover of Queen magazine; RIGHT: Marsha photographed for British Vogue in 1969.]

She immediately became a sex symbol, celebrity, and the face of the “Black is Beautiful” movement, which was already taking over America in the mid-60s. This helped her snag lots of modeling gigs and everyone wanted to photograph her. (I mean, sis was booked & busy!!!)

[BOTTOM: More of Marsha’s most iconic shots. *The melanin was melanating, 4C afro was on deck, eyelashes poppin’, lips bussin’...she was a *bad bitch*!!!]

In March 1969, she signed a contract with Track Records, the same independent label that also repped the British rock band, The Who and Jimi Hendrix, as she later said, “There was one luxury that London celebrity afforded me: the freedom to be myself without a single apology for my gap, my freaked-out hair, my brown skin, my slave-class ancestors or my radical views.” 

Around this time, she also had a short-lived love affair with Marc Bolan, the singer and founder of the English rock band, T-Rex (even though he was much shorter than her 😂.)

She scored a few minor hits during her underrated music career with singles like a cover of T-Rex’s “Desdemona” and her debut single, a cover of “Walk on Gilded Splinters”. 

[BOTTOM: Marsha performing the T-Rex cover “Desdemona” live.]

The record soon went to the charts, and that spring, she was asked to perform on various shows, including a popular British TV program called, “Top of the Pops”. During her live performance on the show, the tight bolero suede top she wore nearly came undone and partially exposed her breasts, a wardrobe malfunction that gave her the reputation of a “bad girl.”

NOW…Here’s the part y’all have been waiting for. Get your popcorn. Y’all got it? Ready? Good!!! 🍿

After her performance aired, Marsha soon received a phone call out of the blue from Jo Bergman, the then secretary for The Rolling Stones on behalf of the band’s frontman Mick Jagger who was actually watching the show live, asking her to pose semi–nude for a publicity photoshoot to promote the band’s new single, “Honky Tonk Women”. She said, “The picture was going to be of a girl dressed like a sleaze bag standing in a bar with the Stones and they wanted me to be the girl.”

[BOTTOM: Marsha performing "Walk on Gilded Splinters” on ‘Top of the Pops’ in May 1969. This was also the exact moment Mick Jagger first laid eyes on her!]

Marsha, who was not a Stones fan, was already established and didn’t really need the extra exposure. She later declined because she had her reputation to think about and said she “didn't want to look like [she'd] just been had by all The Rolling Stones.” She also claimed, “The last thing [Black women] needed was for me to denigrate us by dressing up like a whore” among a band of white men.

ENTER MICK JAGGER:

When she tried to get in touch with Mick to say, “thank you, but no thank you”, he later returned her call in an attempt to change her mind and even suggested he come over as he was very intrigued that a girl would turn him down.

Mick then showed up at her apartment around midnight as she claims, “He was framed by the doorway as he stood grinning with a dark coat ... He drew one hand out of his pocket and pointed it at me like a pistol. His silly 'Bang' was precisely the icebreaker we needed to get over my ungracious hesitation before I invited him in, not sure how to salute a notorious rogue who rings me just before midnight and suggests he pop round on a pretext of loneliness.”

They talked for HOURS, well until the sun came up about any and everything from music to social issues and politics, and according to her, Mick “made me squeal whenever he used Melanigian slang (aka Black vernacular/AAVE).” 🙄🤦🏾‍♀️

Marsha didn’t really find Mick physically attractive at first, stating, “He wasn't beautiful or even striking” however, he was boyish, open, direct, yet seemed quite awkward and shy. She found it a relief that he was nothing like other musicians she’d known or the image the media had portrayed him. He was incredibly charming, intelligent, funny, radical, and straddled the racial line, much like she did. She also quickly noticed that he had a penchant for Black women, as he claimed “They [Black women] just do something to me”.

The two of them had a lot in common and just clicked right off the bat. And things eventually turned hot as they ended up having sex. From there, they embarked on a passionate, but very private, deep romance and year-long affair, at a time when interracial relationships weren’t widely accepted yet.

Marsha didn’t expect to hear from him again, as he had a wide selection of women to choose from, but surprisingly, Mick wanted to see her and talk all the time, mostly because she was great to look at and he could count on her. Marsha said, “He knew that I adored him and that he could depend on me…he realized I respected him as I respected myself.”

Mick’s friend and interior designer Christopher Gibbs once said often when he dined with Mick, women who had slept with him would come up to the table and “he’d have absolutely no idea who they were.”

[LEFT: Mick photographed at the ​​Shaftesbury Theatre in London to see the new musical “Hair” for the first time; RIGHT: Marsha performing in the show.]

1969 was a very rough year for Mick. He was having trouble with his band The Rolling Stones (which he was practically running by himself) because the founder and guitarist, Brian Jones, was becoming increasingly unreliable and spiraling out of control due to his deep drug addiction and legal troubles that led to him having difficulty getting a US work visa to go on an upcoming tour. Mick’s personal life was also a mess because his long-term girlfriend at the time, pop singer Marianne Faithfull, was also a very serious (and sloppy) drug addict, who often embarrassed him and became more dependent and difficult to be around. Things had gotten so bad between them, their relationship grew to be strictly platonic by this time.

Mick and Marianne were quite destructive together and often found themselves in legal troubles due to drugs. Marianne was also quite messy as she previously slept with Mick’s bandmates Brian Jones, Keith Richards, and even left her husband, John Dunbar, for Mick who was dating Black soul singer and former Ikette, Pat “P.P.” Arnold, when they first met.

P.P. also later claimed in her autobiography “Soul Survivor” that the three of them would often engage in drug-fueled threesomes much to Mick’s delight. 

[BELOW: Soul singer & former Ikette, P.P. Arnold, who dated Mick from 1966-1967.]

While in London, Mick was still messing with P.P. who later became pregnant with his baby in 1967, but they both agreed to have an abortion, partly due to his growing relationship with Marianne.

[BELOW: Mick arriving at a courthouse with his then girlfriend, singer Marianne Faithfull in 1969.]

Marsha on the other hand, was stone-cold sober and didn’t do any drugs (NOT ONE), which was like a breath of fresh air for Mick, though he dabbled with hashish, LSD, and marijuana among other drugs himself. But unlike those around him, he was able to control his habit.

Even though their relationship quickly turned sexual, they were really, really close friends. Mick often retreated to her home to relax, he told her all his secrets, his troubles – he just trusted her. He was completely enamored of Marsha, who many describe as warm, intelligent, sensitive, funny, and very easy to talk to. He liked that she didn’t go gooey-eyed and weak-kneed in his presence like most (white) women/female fans did. Instead she had a crisply forthright manner and was almost quite “butch”. The Rolling Stones then manager was even quoted as saying that Mick was “obsessed” with Marsha as she was very exotic, and he even gave her the nickname “Miss Fuzzy” due to her afro hairstyle.

Ironically, Marsha enjoyed their well-kept relationship and is one of the only people who often calls him Michael instead of Mick, to distinguish him from his Rolling Stones rockstar persona.

Since Marsha was a fellow recording artist, they were able to be seen together in public without any arousing suspicion—in any case, London still had almost no paparazzi. They would often go to the same parties or events, even with Mick’s girlfriend there, and no one questioned it.

Mick would often pop into some of Marsha’s studio sessions with her band White Trash, and everyone around would be in awe of him.

Later, after officially firing Brian Jones from the band, Mick and the rest of the Stones were in desperate need of a new guitarist. Marsha promptly suggested her good friend, Mick Taylor (Yes, Stones fans – thank Marsha Hunt for that one!), as a replacement for Brian just days before he was mysteriously found dead (he sadly drowned in a swimming pool at his home) on July 3, 1969.

Additionally, when Mick sought a replacement for Jo Bergman, the secretary who handled all The Rolling Stones affairs, Marsha also suggested her friend and tour manager, Peter Rudge - (The same guy responsible for getting the Stones all those huge tours in massive stadiums. Again, thank Marsha!)

Two days after Brian’s death, the Stones played a free concert before a crowd of over 250,000 people in Hyde Park, London, which was previously planned to debut their new guitarist, but turned into a memorial/funeral for Brian. Mick invited both Marianne (who looked a hot ass mess and was in withdrawal from heroin at the time), and Marsha (who showed up looking sexy af with her titties bustin’ out of her buckskin suit) to the concert, and rudely and distastefully opened the show with a song called, “I’m Yours and I’m Hers.”

[BELOW: Mick & Marsha at The Rolling Stones tribute concert to Brian Jones in Hyde Park, London on July 5, 1969.]

Marianne who sat on the other end of the stage with her 4-year old son Nicholas and the other Stones wives/girlfriends, actually saw Marsha that day as she was placed right above the stage in the scaffold VIP section at the request of Mick so that he could look at her while he performed. She later said, “I saw her [Marsha] you know. And she was stunning…If I’d been Mick in that situation, I might have done exactly the same thing.”

Mick arrived at the concert with Marianne that afternoon, but left with Marsha and spent the night at her place where they made love.

A day after the concert, Mick kissed Marsha goodbye, and flew with Marianne to Australia to shoot a biographical film they were both cast in called “Ned Kelly,” based on the infamous bushranger. However, Marianne who was reeling from the recent death of Brian Jones and a horrible miscarriage just a few months earlier, overdosed on 150 Tuinal barbiturates while traveling with Mick, and fell into a coma in their hotel room.

[LEFT & RIGHT: Mick & Marianne arriving in Australia to film “Ned Kelly.” Marianne slipped into a coma just hours later from an attempted suicide.]

At the last minute, Mick was forced to film the movie without her, but phoned and wrote to Marsha, who was extremely frantic and worried about his mental health and emotional well-being, almost everyday. She was scared that he didn’t have the stamina to deal with yet another crisis. He sent Marsha over 10 handwritten letters (some even written on the same headed stationery paper of Chevron Hotel where his girlfriend just tried to kill herself) about his deep feelings for her, his experience filming on set, being in the Australian outback, his new interests, the historic day of the moon landing of 1969, future career plans, his regret at missing her performance at the famous Isle of Wight Festival, and other aspects of pop culture (including “John & Yoko boring everybody…”). The letters also reference the recent death of his former bandmate Brian Jones, Mick’s increasingly difficult relationship with Marianne, and another letter even had the full original lyrics for The Rolling Stones song “Monkey Man”, which was later rewritten.

Mick’s letters also went on to mention the foul Australian winter weather and an unpleasant virus that swept through the film unit, a fire that destroyed most of the film’s costumes, along with various other accidents – including a prop gun that backfired in his right hand. He was just having a real shitty time. So, he found solace writing to Marsha.

His letters to Marsha showed how pensive and romantic he was. He said things like,“I feel with you something so unsung there is no need to sing it...” and “If I sailed with you around the world, all my sails would be unfurled.” He also thanked her for being “so nice to an evil old man like me”. And in another steamy note, Mick promises Marsha: "I will kiss you softly. And bite your mouth too."

[RIGHT & LEFT: Mick’s private letters sent to Marsha while filming “Ned Kelly” in Australia during the late summer of 1969.]

Mick also celebrated his 26th birthday while filming in Australia and Marsha sent him a huge package of books (which he loves) and albums, including her friend John Mayall’s record “Brown Sugar.” Along with his gifts was a note stating how she missed him desperately.

While still trying to rehabilitate his hand from the prop accident, Mick toyed with a new guitar he had and started work on a song he had in his head, which was partly inspired by Marsha and that he initially titled “Black Pussy.” He decided that name was a little too direct and changed it instead to “Brown Sugar” with the lyrics:

[Verse 1]

Gold coast slave ship bound for cotton fields  Sold in the market down in New Orleans  Scarred old slaver knows he's doing alright  Hear him whip the women just around midnight 

[Chorus] 

Brown sugar, how come you taste so good?  Uh huh Brown sugar, just like a young girl should

[BOTTOM: Recording of “Brown Sugar” by The Rolling Stones later released on their Sticky Fingers album in 1971.]

Mick later confirmed in a 1995 Rolling Stone magazine interview that the song is a double-entendre: “brown sugar” being the street name for unrefined heroin and of course also meaning his seemingly equal addiction to having sex with Black women. The song was a huge commercial success and ended up becoming a huge #1 hit around the world, making it one of the Rolling Stones’ best-selling records to date.

[TOP: A movie poster of “Ned Kelly” which was released in June 1970; BOTTOM: Mick with his guitar composing “Brown Sugar” during filming.]

While Mick was still filming overseas, Marsha was booked to perform at the iconic 3-day outdoor concert, the Isle of Wight Festival on August 30th, 1969. At the time, it was the biggest open-air concert in music history and she was the only woman billed to perform. She was there alongside acts like The Who, Joe Cocker, and even Bob Dylan who hadn’t been onstage in three years.

Mick told her in a letter that he was so proud of her and promised her that he was “there in my head and in my heart.” Keith Richards, Charlie Watts and his wife Shirley, and Jo Bergman were also in the audience watching Marsha perform.

Marsha also made headline news as she wore custom-made leather shorts to which the press ran with and by the next fashion season, short shorts were featured in every fashion magazine. She was the first person to popularize “hot pants”.

[BELOW: Marsha performing with her band White Trash at the Isle of Wight Festival in 1969 with members of The Rolling Stones looking on in the audience.]

After Mick came back from Australia, Marsha was offered a part in a film called “Welcome to the Club” which is a comedy about three Black USO performers sent to Hiroshima in the 1940s to entertain the troops on an all-white base. The film was being directed by Walter Shenson, who had produced The Beatles' films “A Hard Day's Night” and “Help” and shot it entirely in Copenhagen, Denmark.

She was also asked to fly back to London to shoot another cover for American Vogue which was shot by photographer Patrick Litchfield. (They‘d never had a Black woman on the cover before.)

Mick began touring in America again, his first since 1966, and with the number of girls he had access to, she knew he was keeping himself busy on and off stage.

[LEFT: Mick on stage at Madison Square Garden during the Stones’ 1969 tour; RIGHT: Marsha filming “Welcome to the Club”.]

He even started a short-lived relationship with yet another Black singer and Ikette Claudia Lennear, as well sparking up a fling with Devon Wilson, a notorious rock & roll groupie and the girlfriend of Jimi Hendrix who famously wrote the song “Dolly Dagger” about their affair.

[LEFT: Mick arriving at Madison Square Garden in November 1969 with Devon Wilson; RIGHT: Mick backstage at the same event with singer Claudia Lennear.]

But on December 6, 1969 - everything changed dramatically when an 18-year old concertgoer was stabbed and killed during the Stones’ free concert at the Altamont Speedway in California by the Hell’s Angels Motorcycle Club, who was the band’s security. Members of the Hell’s Angels blamed Mick for the incident and subsequent to the concert, put a hit out on him and threatened to murder him. This marked the third major tragedy to happen since Mick and Marsha met each other.

[BELOW: A scared Mick looks on as 18-year old Meredith Hunter is stabbed to death by the Hell’s Angels in front of the stage while the Stones performed at Altamont Speedway.]

Marsha stayed with Mick after the chaos at Altamont, which the media dubbed “The Death of the ‘60s”. By this time, he had officially split up with Marianne and moved Marsha into his house on Cheyne Walk where she helped him to transition and readjust his life. It was then their relationship intensified!

This is around the time she got a chance to know some of Mick’s friends who lived on the same road, including Keith Richards and his girlfriend, actress Anita Pallenberg, who just had a son, but was hooked on heroin. She thought they were both nice, but they’d visit or show up unannounced to their home all the time. Their hard drug-taking also scared Marsha, so she kept her distance and didn’t voice her opinion. 

She also met Mick’s parents, Eva and Joe Jagger, along with his little brother Chris who was a bit of a hippie and had just returned from India with his American girlfriend. They both had no work, no money, and nowhere to stay, so Marsha kindly gave them a job, one included painting her new apartment.

That Christmas, Marsha got Mick a puppy and Mick, for the first time, told her that he loved her.

Marsha was in a good place. Opportunities were coming to her fast, she had a new apartment, and she was in love with Mick. She had newfound stability and independence. 

In January 1970, they were having dinner at the celebrity hotspot restaurant Mr. Chow’s when Mick said that she’d be a good mother and that they should have a baby together. Prior to this Marsha thought she was just another girl he fancied, as he was a notorious womanizer. But the talk of having a baby made her feel special to him. Her feelings for him were so deep that she also claimed, “I would have died for him.”

She knew Marianne miscarried around the same time Keith Richards’ son Marlon was born. Mick also missed family life with Marianne’s son Nicholas, so wanted to give having a baby a second try.

This fool literally made Marsha take out her birth control and IUD coil, they proceeded to have sex like rabbits, and when she found out she was 3 weeks pregnant, she told Mick who was ecstatic.

Marsha literally said to him, “Listen, if you’re not ready and you changed your mind about this, it’s okay.” She was totally ready to get an abortion. But he assured her that it was what he wanted and he was happy.

They had their first argument when it came time to naming their baby. Mick wanted a boy who he could send to the prestigious Eton School (the all-boys school where Prince William & Prince Harry attended), and he proposed that they call the baby ‘Midnight Dream’. Marsha wasn’t having it and even said, “Imagine sticking your head out of a window to call your child home and yelling, 'Midnight. Midnight! Time for tea.’”

She'd known that he and the band were leaving England for tax reasons and moving to France in the coming year. The Stones were also gearing up for their upcoming European tour.

Even though she loved Mick, he was young and she claimed she was “all for Mick doing his own thing”. They were supposed to be the sophisticated embodiment of an alternative social ideal — parent-hood shared between loving friends living separate lives.

This was around the time of the sexual revolution and people were exploring different types of relationships. Marsha didn’t find gratification in being “Mr. So and So’s” wife, plus Mick wasn’t the marriage type either. He was the type of guy to get up at 2pm to start his day - so marriage was sort of off the table. Though, unbeknownst to Marsha, Mick has thought of proposing, she claimed their relationship “thrived off her being supportive” and she loved to see him “run free”. And since she grew up in a matriarchy, the ideal of a man and woman living together seemed nice but unnecessary. They agreed that Mick would be a good absent father while he made his music and toured with The Rolling Stones, and Marsha could still have her own life and career. It was all very modern!

Marsha also feared that her association with Mick would crowd out her own identity. She didn’t like the limelight because it was a discomfort. She also never wanted to be known as Mick Jagger's girlfriend (can you blame her? So many of his girlfriends tried to commit suicide). Like him, she wanted her own independence.

By June 1969, Marsha told her band and the press that she was pregnant, but did not give up the name of her baby’s father. However, one little clever ass reporter actually found out it was Mick Jagger and threatened to print it. She thought of suing but asked the Stones PR team to link him to another girl. She managed to get through her pregnancy without a media frenzy or being linked to Mick even though they had stepped out together many times, and he was ready to have it reported. 

While Mick was away touring in Europe, his phone calls got less frequent. The tour was a bit crazy, and although Mick invited her to go to Paris, he knew she'd refuse – she didn’t want to get caught up. But he told her he was lonely and had met someone in Paris that he was taking to Italy. Her name was Bianca. She was Nicaraguan and spoke little English. Mick didn't mention her again, but after the tour, Marsha knew that she had moved to his house in England. 

His publicist sent her an invite to the premiere of his corny movie, “Ned Kelly,” but he didn’t show up. He also invited his parents to the event and it was there she realized that the bastard didn’t tell them that he had a baby on the way. Mick hardly lavished praise on his parents and even once told the press, “I owe them nothing. They are my parents, that is that…but there are no dues to be made by me to them!”

By her third trimester, having a baby became her whole reality and his passing fancy. He started to forget that the baby was HIS idea. 

Despite Marsha carrying his child, practically all references to her and the baby were quickly airbrushed out of his life. Chris O'Dell, Mick’s PA in the early ‘70s was even quoted as saying, “I never remember him talking about their child. In fact, I wasn’t aware of a baby being around at all. It was almost like [his first child] didn’t exist.”

Marsha was put in a difficult position because it was too late to go back and sometimes he’d phone her like nothing ever happened. She claimed his mood would change so quickly, he was like Dr. Jekyll and Mr. Hyde. She also said, “I've discovered that he can burn hot and suddenly cool to below zero.”

She started to worry that he didn’t care anymore, so, she tried to squeeze in any and every piece of work she possibly could to hold her up during and after her pregnancy (tv shows, photoshoots, etc.). She also volunteered at a local mental-care center in the autistic unit caring for a 12 year old boy to keep from feeling useless.

[BELOW: A heavily pregnant Marsha performing in late 1970.]

At the same time, Mick also did a lot of peculiar interviews, either stating he wasn’t interested in having children or flat out dissing Marsha. During a 1970 interview with London’s Daily Mail newspaper he even said, “For me, life has always got to be on the move and exciting. I love kids, I really do…but it’s not something I’m thinking about.” He of course failed to mention that Marsha was expecting their first child.

[BELOW: Mick during an interview referencing Marsha & his unborn child in 1970.]

Once it was time for her to give birth, a hard-up Marsha was ashamed and reluctant to ask him for any contribution because he never once offered. Mick ultimately gave her a measly £200 to get by, which came with a note saying “I know I haven’t done right by you” and he also “loaned” her a ring he always wore.

She had initially planned a natural home delivery to keep the press at bay and because it was the “it” thing to do at the time, but was told by her OB-GYN that her baby was in danger and that she had to go to the hospital the next day. 

On November 3rd, she dragged her own luggage and hailed a taxi to the hospital only to be told there weren’t enough beds. Panicked and scared, she went back home quite sure she was going to die from an unassisted childbirth.

When she went back to the hospital the next day for an induced labor, she checked in with her married name “Ratledge” to protect herself (and Mick). On November 4, 1970 after hours of labor, she gave birth to a girl she named Karis and phoned Mick first and then her mother. That day was the first time Mick actually told his now girlfriend, Bianca, that Marsha and his baby existed.

While waiting in the maternity ward, the nurses also forgot to feed Marsha who was so hungry. But being on The National Health, she didn’t complain.  

When she checked out of the hospital, Mick sent a bouquet of red roses,  a miniature muse figurine for the baby, a silver spoon, and some cheap Indian earrings for Marsha. He “dropped by” two days later to see his baby but was in a hurry to be somewhere else.

10 days later, he paid another rushed visit, but she eventually took him to the side because she wasn’t in the mood to entertain his detachment.  And she was kinda like, “Hey! What’s up with you? Why don’t you call or come around more often for the baby” trying to get some genuine reaction out of him instead of keeping her at bay with the polite chitchat bullshit, in which he snapped and yelled at her, “I never loved you” and told her that she was “mad to think that he had”. Of course Marsha, hormonal, stitches still in, burning and all, did not expect for him to stab back and immediately started to cry, which only made him more angry. The piece of shit even had the audacity to threaten to take her newborn baby away from her if he chose. She stopped and in a stern voice said, “Try it! I’d blow your brains out!!”

In that moment, the loyalty she had for him was gone. She had no choice but to push forward and tried to find as much work as she could to support herself and her baby.

[BELOW: Marsha & Mick after the birth of their first child Karis Hunt in late 1970.]

READ ‘PART 2’ HERE!!! ☕️☕️☕️

[quixoticrobotic]

ok so this actually has nothing to do with my hadestown headcanons that breached containment, but one day i was thinking "why is the deity in charge of objective beauty one gender, thats awfully boring, especially if you aren't attracted to that one gender"

so I ended up designing this imagining of Aphrodite whos based off of old 1920s drag kings, but mostly ended up looking up like Josephine Baker. Even though shes based off 1920s gender fuckery she could also fit as a ziegfeld girl, or an old hollywood starlet, just like. a performer! an entertainer! just like! professional hot person!

since shes in a history inspired setting idk what she'd call herself but she's p much just. Genderfluid. Always pushing the boundaries of what's taboo! Shes def not as wrathful as her OG mythological counterpart, but i do see her as letting drama play out because its funny, sometimes. shes not mean she just likes having things and getting stuff. which is valid.

I imagine the papers and the movie studios are always spreading rumors about her love life and all the various people she might be seeing, but she is in a very happy and loving marriage with Hephaestus. they might have like an open marriage i haven't decided. but they're definitely in a happy relationship in my funky little re-imaginings of greek mythology im absolutely using a sanitized, mostly pg-version of things! because all the canon typical assault and incest and whatnot makes me really uncomfortable! and who wants to be uncomfortable while doing something for fun? not me! im not saying those stories don't have value im just. not interested in telling those versions of the story

I'm not trying to be accurate to anything, im just combining these pre-existing character concepts with bits of American history that interest me. so its like. in the style of hadestown, i suppose.

but yeah. have a genderfluid, harlem renaissance inspired Aphrodite! she uses she/her but like probably wouldnt mind other pronouns.

[cartermagazine]

Today We Honor Noble Sissle and Eubie Blake They was one of the nation’s premier composers and bandleaders, particularly in the early days of American popular song and theater. As the Dixie Duo, Noble Sissle and Eubie Blake were the first African American act to perform without darkening their faces with burnt cork in the style of blackface minstrelsy. During their extensive tours they met Flournoy Miller and Aubrey Lyles, a veteran comedy and dance duo who had gotten their start in theatrics at the historically black Fisk University in Nashville. The two acts joined forces, expanding Miller and Lyles’s sketch “The Mayor of Dixie” (later called “The Mayor of Jimtown”) and adding songs by Sissle and Blake to create the musical Shuffle Along, a pioneer musical featuring Josephine Baker, Florence Mills, Caterina Jarboro, William Grant Still, and Hal Johnson. The production also helped propel the Harlem Renaissance of the early 20th century. CARTER™️ Magazine carter-mag.com #wherehistoryandhiphopmeet #cartermagazine #historyandhiphop365 #carter #noblesissle #eubieblake #blackhistorymonth #blackhistory #history #staywoke #blacktwitter https://www.instagram.com/p/CmQtHJeu4Tx/?igshid=NGJjMDIxMWI=

[dyggtheway]

Black Contribution to Fashion and Wardrobe in the West: Past, Present and Future

How We Arrived | A Brief Recount with Many Threads

Fashion is a form of communication that reflects the identity, culture and values of individuals and groups. Fashion is also influenced by the social, political and economic contexts of different times and places. Throughout history, Black people have contributed to fashion and wardrobe in the West in various ways, from creating original styles and trends to challenging stereotypes and discrimination. In this article, we will explore some of the aspects of Black contribution to fashion and wardrobe in the West, and how they might shape the future of fashion.

The Origins of Black Fashion

Black fashion has its roots in the diverse cultures and traditions of Africa, where clothing was not only a functional necessity, but also a symbolic expression of status, religion, ethnicity and aesthetics. African textiles, such as kente, adire, bogolan and shweshwe, were made with intricate techniques and patterns, and often dyed with natural colors from plants and minerals. African clothing, such as dashikis, kaftans, boubous and agbadas, were designed to fit the climate and the lifestyle of the people, and often embellished with beads, shells, feathers and metalwork. African fashion also reflected the influence of other cultures, such as Arab, European and Asian, through trade, migration and colonization.

The Impact of Slavery and Colonialism

The transatlantic slave trade and the colonization of Africa by European powers had a profound impact on the fashion and wardrobe of Black people in the West. Enslaved Africans were stripped of their cultural identity and forced to wear the clothing of their oppressors, which was often cheap, coarse and ill-fitting. However, enslaved Africans also resisted and adapted to their situation by modifying, embellishing and personalizing their clothing, using scraps of fabric, buttons, ribbons and jewelry. They also preserved and transmitted some of their cultural heritage through their clothing, such as headwraps, turbans, bandanas and scarves, which were worn for protection, modesty and dignity. Some enslaved Africans also managed to acquire or make finer clothing, especially for special occasions, such as weddings, funerals and holidays, which allowed them to express their individuality, creativity and pride.

The Rise of Black Fashion Movements

The abolition of slavery and the civil rights movement in the 19th and 20th centuries gave rise to various Black fashion movements that challenged the dominant norms and standards of beauty, and celebrated the diversity and richness of Black culture. Some of the examples of these movements are:

The Harlem Renaissance: A cultural and artistic movement that emerged in the 1920s and 1930s in Harlem, New York, where Black artists, writers, musicians and intellectuals created a vibrant and influential scene that showcased their talents and achievements. The Harlem Renaissance also influenced fashion, as Black people adopted and adapted the styles of the Jazz Age, such as flapper dresses, zoot suits, fedoras and pearls, and added their own flair and elegance. Some of the icons of this movement were Josephine Baker, Billie Holiday, Langston Hughes and Zora Neale Hurston.

The Black Power Movement: A political and social movement that emerged in the 1960s and 1970s in the United States, where Black people demanded their rights, freedom and justice, and asserted their identity, dignity and self-determination. The Black Power Movement also influenced fashion, as Black people embraced and reclaimed their African roots, and expressed their solidarity and resistance. Some of the styles of this movement were Afros, cornrows, braids, dashikis, leather jackets, berets and sunglasses. Some of the icons of this movement were Malcolm X, Angela Davis, Huey P. Newton and Kathleen Cleaver.

The Hip Hop Movement: A cultural and artistic movement that emerged in the 1970s and 1980s in the Bronx, New York, where Black and Latino youth created a new form of music, dance, art and fashion that reflected their realities, experiences and aspirations. The Hip Hop Movement also influenced fashion, as Black and Latino youth innovated and experimented with different styles, such as baggy jeans, sneakers, tracksuits, baseball caps, gold chains and graffiti. Some of the icons of this movement were Grandmaster Flash, Run-DMC, LL Cool J and Salt-N-Pepa.

The Influence of Black Fashion on the Mainstream

Black fashion has not only been a source of inspiration and empowerment for Black people, but also a source of influence and appropriation for the mainstream fashion industry and culture. Black fashion has often been copied, imitated and commodified by white designers, celebrities and consumers, who have profited from the creativity and originality of Black people, without giving them proper credit, recognition or compensation. Some of the examples of this phenomenon are:

The minstrel shows: A form of entertainment that originated in the 19th century in the United States, where white performers wore blackface and exaggerated costumes to mock and stereotype Black people and their culture. The minstrel shows also influenced fashion, as white people adopted and adapted some of the clothing and accessories of Black people, such as hoop skirts, bandanas, gloves and canes, and used them for amusement and mockery.

The orientalism: A form of representation that originated in the 19th and 20th centuries in Europe and the United States, where white artists, writers and scholars depicted and distorted the cultures and peoples of Asia, Africa and the Middle East as exotic, mysterious and inferior. Orientalism also influenced fashion, as white designers, celebrities and consumers adopted and adapted some of the clothing and accessories of these regions, such as turbans, kaftans, kimonos and harem pants, and used them for fantasy and fetishism.

The cultural appropriation: A form of exploitation that occurs in the contemporary globalized world, where white designers, celebrities and consumers adopt and adapt some of the clothing and accessories of marginalized and oppressed cultures, such as Native American headdresses, Indian bindis, African prints and dreadlocks, and use them for fashion and fun, without respecting or understanding their meanings and histories.

The Future of Black Fashion

Black fashion has a long and rich history that reflects the struggles and achievements of Black people in the West and beyond. Black fashion also has a bright and promising future that offers new possibilities and opportunities for Black people to express their identity, culture and values. Some of the trends and developments that might shape the future of Black fashion are:

The Afrofuturism: A form of imagination that envisions the future of Black people and their culture in relation to science, technology and innovation. Afrofuturism also influences fashion, as Black people create and wear clothing and accessories that combine elements of their African heritage and their futuristic aspirations. Some of the examples of this trend are the movie Black Panther, the singer Janelle Monáe and the designer Mowalola Ogunlesi.

The sustainability: A form of awareness that recognizes the environmental and social impacts of the fashion industry and its practices. Sustainability also influences fashion, as Black people create and wear clothing and accessories that are made with ethical, organic and recycled materials, and that support local, fair and diverse production. Some of the examples of this trend are the brand Lemlem, the model Adwoa Aboah and the activist Dominique Drakeford.

The diversity: A form of inclusion that celebrates and respects the differences and similarities among Black people and their culture. Diversity also influences fashion, as Black people create and wear clothing and accessories that reflect their various identities, such as gender, sexuality, class, religion and disability. Some of the examples of this trend are the magazine CRWN, the actor Billy Porter and the designer Sinéad Burke.

Black fashion is a powerful and dynamic phenomenon that has contributed to fashion and wardrobe in the West in many ways. Black fashion is also a potential and transformative phenomenon that can contribute to fashion and wardrobe in the West in many more ways. Black fashion is not only a form of communication, but also a form of expression, resistance and liberation.

Amid a period when history classes might opt to reinterpret the Black influence, fashion schools are progressively integrating Black fashion history into their curricula, all credited to the efforts of committed educators. These educators employ diverse methodologies—lectures, discussions, and practical projects—to impart the narrative of Black fashion history. Additionally, they actively strive to broaden the spectrum of Black fashion designers and styles presented within the classroom setting.

Here are some of the experts, educators and advocates for continued education in the evolutionary process of Black Fashion:

- Dr. Jonathan Square, assistant professor of Black Visual Culture at Parsons School of Design and founder of Fashioning the Self in Slavery and Freedom, who teaches courses on Black beauty culture and Black fashion history, and organizes events and exhibitions on these topics

- Dr. Tanisha C. Ford, associate professor of Africana Studies and History at the University of Delaware and author of Liberated Threads: Black Women, Style, and the Global Politics of Soul, who explores the connections between fashion, activism and social movements, and co-curated the exhibition Black Girlhood and the Power of Belonging at the Delaware Art Museum.

- Dr. Monica L. Miller, associate professor of English and Africana Studies at Barnard College and author of Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, who examines the role of fashion in shaping Black identity and culture, and co-edited the book Black Dandyism: A Reader.

- Elizabeth Way, associate curator of costume at The Museum at FIT and co-curator of the exhibition Black Fashion Designers, who researches and showcases the work of Black fashion designers from different eras and regions, and organizes public programs and publications on Black fashion history.

*see also The Experts Bringing Black Fashion History to Fashion Education: https://fashionista.com/2023/10/experts-teaching-black-fashion-history by Fashionista:

Empowering Movements in Black Fashion

The unique expression and activism within Black culture persistently shape fashion's diversity and interconnectedness. This influence resonates through the multicultural fabric of humanity, impacting even mainstream trends, notwithstanding past challenges of appropriation and insufficient acknowledgment.

Discover the world of Black fashion and become an active participant in its vibrant tapestry! Here are actionable steps to engage with and support Black fashion:

Attend Exhibitions: Showcasing Black designers and movements. 

Support Black-Owned Businesses: Empower Black entrepreneurship by consciously choosing to support Black-owned fashion brands.

Educate Yourself: Explore the rich history of Black fashion, discover how these contributions have effected your style.

Black fashion is a global style panorama. Thank you for reading, comment, like and follow.

[steamedtangerine]

Josephine Baker by Lola Dupre at #xoxofest by evan p. cordes Via Flickr: via Instagram ift.tt/1KkViVu

[wongliutsong]

Style alert: Anna May Wong was included on a list of fashion icons from the roaring 20s that influence present day style via the Hello Magazine website. The article noted 11 style icons, but I only counted 10. 🧐 9 of them were silent film actresses: 💫 Anna May Wong 💫 Josephine Baker 💫 Clara Bow 💫 Carole Lombard 💫 Jean Harlow 💫 Marlene Dietrich 💫 Greta Garbo 💫 Mae West 💫 Louise Brooks Do you agree with this list? I felt like they left out some other glamorous & stylish ladies as well. Perhaps, they’re not as well known, such as Colleen Moore. Photos: Getty Images. Upscaled using AI technology from medio.io Read the article here: https://www.hellomagazine.com/fashion/hfm/20220928152740/1920s-fashion-icons-who-still-influence-our-style-today/ ⁣ .⁣ .⁣ .⁣ .⁣ .⁣ #vintagefashion #styleicons #vintagestyle #annamaywongpic #louisebrooks #annamaywongactress #annamaywong #carolelombard #clarabow #oldhollywood #gretagarbo #goldenera #glamour #annamaywongstyle #platinumblonde #louisebrooksbob #silentfilm #louisebrookshaircut #oldhollywoodactress #louisebrooksinspired #roaring20s #josephinebaker #retro #annamaywong✨ #annamaywongforever #oldhollywoodglamour #maewest #marlenedietrich #classicactress #jeanharlow https://www.instagram.com/p/CjMOSY2JeGi/?igshid=NGJjMDIxMWI=

[lboogie1906]

Lynn Whitfield (born February 15, 1953) is an actress. She began her acting career in television and theatre before progressing to supporting roles in film. She won a Primetime Emmy Award for Outstanding Lead Actress in a Limited Series or Movie and received a Golden Globe Award nomination for her breakout performance in The Josephine Baker Story. She was born in Baton Rouge, the daughter of Jean Smith, a former president of the Louisiana Housing Finance Agency, and Dr. Valerian Smith, who was a composer who wrote the musicals, The Supper and The Wake. She is the eldest of four children and a third-generation BFA graduate from Howard University. She played leading roles in several made-for-television movies and had several starring in theatrical films, including The Slugger's Wife, Silverado, The Women of Brewster Place, The George McKenna Story, Jaws: The Revenge The Slugger's Wife, Silverado, Jaws: The Revenge, A Thin Line Between Love and Hate, Gone Fishin', Eve's Bayou, Stepmom, Head of State, Madea's Family Reunion, and The Women. She has starred or appeared in over 100 films and television productions. She starred as Lady Mae Greenleaf in Greenleaf, for which she won critical acclaim and garnered two NAACP Image Awards and a Gracie Award. She has won a total of seven NAACP Image Awards. She first garnered attention on the stage by performing with the Black Repertory Company in DC. She married playwright/director/actor Vantile Whitfield, one of the company's co-founders and a pioneer of Black theatre. She moved to New York and appeared off-Broadway in such shows as The Great Macdaddy and Showdown Time before earning international acclaim touring the US, Australia, and London's West End in the play "for colored girls who have considered suicide / when the rainbow is enuf". She made her professional screen debut in Hill Street Blues. She appeared in the comedy film Doctor Detroit. She was a regular cast member in the series HeartBeat. She has been married twice. She married Vantile Whitfield. She married director Brian Gibson, with whom she had a daughter. #africanhistory365 #africanexcellence #alphakappaalpha https://www.instagram.com/p/Corsfi6LhVD/?igshid=NGJjMDIxMWI=

[perfectday1972]

josephine baker photographed by jack garofalo, in monte carlo, during the run of “the josephine baker story”, 1974 via retrokingdanny

[tenaciouspostfun]

Blues for an Alabama Sky.

Blues for an Alabama Sky.

Dreams Lost.

Robert Massimi. 

 " Blues for an Alabama Sky " at the McCarter Theatre at the Berlind Theatre is a well acted, very well directed play. Written by Pearl Cleage, the story takes us to Harlem, New York City during the depression years.

 The story never leaves Guy's apartment nor his neighbors, Delia ( Maya Jackson). In Lawrence E. Moten lll scenic design, some is left to the imagination, but most of it is laid out for us. Supported by excellent lighting (Sherrice Mojgani), the story unfolds and it is as complex as it is entertaining. 

 Nicole A. Watson is masterful in that her direction locks the characters in tight; especially the main three... Angel (Crystal A. Dickinson); Guy, ( Kevin R. Free) and Delia.

 While it seems that the characters don’t have a care in the world, the second act of this two hour- forty five minute show brings to light the many and vast problems that confront each of them. 

 In Angel we get a woman who wants the easy way in life. It turns out her world is anything but that. She sacrifices herself for a better life, she uses any means to secure her wants and needs. 

 Guy is a flamboyant homosexual who designs dresses. Both confident and tough, he Dreams about designing cloths in Paris for Josephine Baker. 

 Delia is a twenty-five year old virgin who wants Adam Powell, her preacher to help her start a Planned Parenthood facility.

 In Dr, Sam, the OGBYN, He relishes bring newborns into the world. He loves to drink and go to the many Blues and Jazz clubs around Harlem. He loves Delia and wants to marry her even though he is fifteen years older than her.

 The story gets deep when Alabama Leland (Brandon St. Clair shows up. A proper religious Southern man, he doesn’t believe in drinking during prohibition, homosexuality, nor a woman's right to choose. So Cleage has us taking sides and the sides are volatile. 

 From the costumes ( Sarita P. Fellows) to the concept of time, "Blues for an Alabama Sky " touches the senses. It is an old school play in that it touches on race, the way that the people who live in Harlem behave. She dabbles in each characters wants and dreams and yet their failures and successes are not the product of society, but as a result of hard work, or lack of. 

 While " Alabama" is a somewhat political play, it never is in your face radical. While the writer brings out some obstacles, she brings in a real life story that deals in real life. 

 Where many plays today that deal in political overtones are just to uneven, too filled with hatred, Cleage keeps it more balanced. The characters are likeable even with their faults. 

[tynatunis]

#Repost @rebeccamosesofficial My canvas of Josephine Baker Currently on exhibit at @ralphpucciintl in Los Angeles. This canvas is 6ft x4ft . Ella Fitzgerald. Nina Simone. Billie Holiday. Josephine Baker. Hazel Scott. Joyce Bryant. Sarah Vaughan. Lena Horne. These are the women with extraordinary talent who defined 20th century jazz in America and left an indelible mark on history. “Voices” celebrates a group of women who have made a significant impact on my life. Music is one of the many memories that helped catalogue my life journey. My precious record player in my bedroom and the vinyls that would play forever. These women sing of love, pain, loss, dreams of hope and in doing so, allow me to express the same vital emotions. Their ballads are universal ; we have all listened to their voices and remember the sounds that accompanied unforgettable moments in our lives. But behind those iconic voices and legendary talents, their journeys were marked by painful struggles with racism, personal humilation, stereotyping and societal pressures. Each had to make sacrifices along the way and were often pushed to their limits. Their courage, moral character, and talent in the face of adversity shows a bravery that few have ever possessed. https://www.instagram.com/p/Cp5uH_VIiUy/?igshid=NGJjMDIxMWI=

[mdsc951]

Lynn Whitfield (née Smith; born February 15, 1953) is an American actress. She began her acting career in television and theatre before progressing to supporting roles in the film. She won a Primetime Emmy Award for Outstanding Lead Actress in a Limited Series or Movie and received a Golden Globe Award nomination for her breakout performance as Josephine Baker in the HBO biography (at West Hollywood, California) https://www.instagram.com/p/CppuhEwLFjW/?igshid=NGJjMDIxMWI=

[monibasu]

Today is tough. One year since my dear Valerie left this Earth. I think of all the time we shared and of our last trip together with Teresa Weaver. Paris, 2019. (Thanks, Teresa, for this great photo at Père Lachaise). I am sharing with you what I wrote about Valerie for a quick writing exercise we did with Beth Ann Fennelly at our winter MFA residency. Snowglobe It sits on my nightstand, as though I need reminder. Glassy, globular. The price, faded, still stuck on the bottom. 18 euros. Way too much. But you had insisted on buying it at the duty-free. Tacky, touristy thing. Inside, crispy white snow blizzards like confectioner’s sugar on a freshly baked cake. This way. That way. Every way. And when it settles, I see you, the hoodie of your Patagonia puffer shielding your braids. We walked arm in arm in La Marais. Gazed into the windows of shops selling shiny baubles and low-heeled boots. Chocolate-almond croissants melted with cafe au lait in our mouths. In the evenings we sipped Bordeaux. 2016. That was a good year. The last when everything seemed possible. A white man took us on a tour of Black Paris. You didn’t seem to mind, as long as we saw where Josephine Baker once took the stage. Then, on an icy November morning, we visited Frederic Chopin and Coco Chanel and Jim Morrison. Our breath turned to mist that soared to the heavens. We were surrounded by the dead and yet we never contemplated mortality. We never spoke of such things. What was the use? You celebrated 58. And then, you were gone. I wept. I screamed. I picked up the globe on my nightstand. And I shook it. This way. That way. Every way. I waited for the blizzard of snow to settle, snowflake after snowflake. And I waited for you. When the days warm, the air-conditioner churns day and night. But my solace stems from the small sphere of winter by my bed. https://www.instagram.com/p/ColG2dpOXqj/?igshid=NGJjMDIxMWI=