✊ Black History Month ✊

[@OffHalsted]

Christopher Scarver...

Christopher J. Scarver (born July 6, 1969) is an American convicted murderer who gained notoriety for killing serial killer and cannibal Jeffrey Dahmer at Columbia Correctional Institution, Portage, Wisconsin, in 1994. Scarver used a 20-inch (51 cm) metal bar he removed from a piece of exercise equipment in the prison weight room to beat Dahmer and another convicted murderer, Jesse Anderson. Both Dahmer and Anderson died later from their injuries. Scarver was sentenced to two further life sentences for the killings.
Click to expand...​

We need more nikkas like him... Puttin work in...

 

[BmoreGorilla]

 

[Remote]

Great song

 

[OfTheCross]

Shout out to my 5th grade teacher for putting me on to so many unsung historical black figures





Won't mean nothing unless you let him hit raw.

Bruh. Unsung heroes, indeed.

Ms. Odutola.

I still remember you

 

[Larry Lobster]

Bunch of clowns fishing for daps, if a similar thread was made last month it would barely have 10 replies. Like other user said every month is black history month.

 

[OfTheCross]

Bunch of clowns fishing for daps, if a similar thread was made last month it would barely have 10 replies. Like other user said every month is black history month.

And every day is mother's day but we still show them love on their specific day.

Is the Coli gonna do the Black Excellence Month logos this year? @Brooklynzson @cook

 

[cole phelps]

black Rambo




The Robert Charles Riots began when whites in New Orleans became infuriated after Robert Charles, an African-American, shot several white police officers on July 23, 1900. A manhunt for Charles began after he fled after an altercation with New Orleans police officers. The race riots lasted over four days and claimed 28 casualties, including Charles.

Robert Charles came to New Orleans from Mississippi and was a self-educated, articulate activist. He believed in self-defense for the African-American community and encouraged African-Americans in the United States to move to Liberia to escape racial discrimination.

On the night of July 23, 1900, three white police officers, Sergeant Jules C. Aucion, Joseph D. Cantrelle, and August T. Mora, found Charles and his roommate, Leonard Pierce, sitting on a porch in a predominantly white neighborhood. After some police harassment, Charles and Mora drew their guns and exchanged shots. Although neither was killed, Charles fled to his residence for refuge. Later in the evening, the police interrogated Pierce to determine the location of Charles’ home. Upon the policemen’s arrival at his house, Charles fired his rifle in their direction, killing two officers, including the chief, Captain Day. While the rest of the officers sought cover, Charles fled the scene, leading to a police manhunt.

The next day, a crowd of white New Orleans residents gathered at the location where the policemen were killed and called for the lynching of Charles. Numerous events of lawlessness and civil unrest as mobs of whites roamed the city to terrorize the city's African-American community occurred over the next three days. On July 25, three African-Americans were killed, 11 others were hospitalized and over 50 were injured. Exacerbating the rioting were local newspapers reporting that African-Americans were to blame for the unrest. Also some African-Americans provided assistance to Charles while others were sympathetic because of the growing voting and civil rights restrictions in the city long known for its racial tolerance.

On July 27, the police and white vigilantes surrounded another house where Charles had taken refuge. An ensuing shootout occurred throughout the day between the men outside and Charles, who returned the fire. The police then decided to set the building on fire. As Charles attempted to escape the smoke-filled building, Charles Noiret – a Tulane University medical student who was assisting the police – shot and killed Charles. In anger, the mob of bystanders continued to beat and fire their guns at Charles’s body.

By week’s end, Charles had shot a total of 27 whites, killing seven, including four police officers. The rioting ended when New Orleans Mayor Paul Capdeville deputized 1,500 special police and asked for assistance from the state militia.

 

[cole phelps]

A little-known episode in American history has been snatched from oblivion by Tulane University Professor Lance Hill. He has documented the pivotal events of the civil rights movement in his book, The Deacons for Defense: Armed Resistance and the Civil Rights Movement published by the University of North Carolina Press.

Hill makes it clear that the civil rights movement would have been wiped out in the south by the Ku Klux Klan if it had not been for the Deacons. Before the rise of the Deacons for Defense and Justice (their full name), the prevailing ideology of the movement was a product of the white liberals in the north who had no concept of the terrorism the Klan could unleash.

The Congress of Racial Equality (CORE), the Student Non-Violent Coordinating Committee (SNCC) and the Southern Christian Leadership Campaign (SCLC -- Martin Luther King's organization) were all proponents of meeting violence with pacifism. Jesse Jackson, then an aide to King, drank so deeply from this pacifistic well, that he is still (along with most of the black leadership in the US) anti self-defense and a supporter of gun control.

Some argued that if Ghandi could throw off British colonialism in India with a pacifistic strategy, it should work in the U.S. Hill points out that the British were ruling from afar and the English working class had no direct investment in maintenance of the empire. But in the south, everything was up close and personal. The Klan was part of a community, many of whom felt directly threatened by the elimination of segregation's two sets of laws -- one for blacks, the other for whites.

By the way, although Hill does not deal with the biblical aspect of segregation, it was very clearly a set of laws in conflict with Scripture. Exodus 12:49 requires that the same law apply to everybody alike. And in spite of the name, Deacons, the black self-defense group did not engage in any theological debates over whether the use of lethal force in self defense is biblical.

The Deacons first emerged as a visible self-defense force in Jonesboro, LA. From the very beginning the Deacons represented a new force in the civil rights movement -- leadership had passed from white northern liberals (and blacks who bought into that liberalism) to southern working class blacks who lived in the very communities where the Deacons were active.

The spring and summer of 1964 was a time of growing anti-segregation demonstrations in Jonesboro. The Klan responded at one point with a menacing parade through the black section of town – led by the chief of police. The Deacons informed the chief that if that happened again, "there would be some killing going on." The Klan never did that again.

Cross burning ended suddenly the night that a cross was set on fire in front of a clergyman's house. Shots rang out aimed at the Klan as the torch touched the cross. The Klan departed and never repeated that trick.

Hill found that the Deacons did not take just anybody into their ranks for this rather "high octane" volunteer work. They screened the applicants to make sure they were getting men who could handle the pressure and not go off half cocked.

During a desegregation effort at the Jonesboro High School, the authorities brought up fire trucks and prepared to hose the black students attempting to enter the school. The Deacons pulled up and four men publicly loaded shotguns and then made it plain that the lead was for the firemen if they turned the hoses on. The firemen wisely beat a retreat.

This was a very significant event. This was a self-defense effort in the spirit of the American War for Independence. The government was attempting to exercise illegitimate power (enforcing an unbiblical law which by this time also violated federal law) and it was repulsed by the use of community force -- by the militia, if you will.

The Deacons were in the great tradition of American freedom -- liberty is not given by tyrants and thugs, it is wrested from their hands by force.

Jonesboro saw one more exercise of defensive force before the Klan was finally convinced that they could not intimidate the black community. When Deacon Elmo Jacobs was driving a carload of white civil rights workers, they were fired upon and took a load of buckshot in the door of Jacobs' car. Jacobs returned fire and the Klan attack ended immediately -- and for good.

In Bogalusa, LA, Hill found that the police made no attempt to stop the attacks and in fact took pains to arrest blacks who had armed themselves in self defense. In other words, gun control was simply a tool of people control and had nothing to do with fighting crime. Had crime control been the concern, plenty of opportunities had come and gone to arrest the Klan.

FBI agent Frank Hicks warned Bogalusa blacks that any self-defense shooting by a black -- of a white -- would result in an arrest for murder. He did not explain where the FBI had any legal or constitutional authority for such a move, but the Deacons were not interested in a scholarly debate. They simply told Hicks that self defense is a constitutional right. Hicks got the message.

A lethal moment in Bogalusa shocked the Klan into the realization that blacks were no longer chattel punching bags. During a 1965 summer desegregation demonstration, white hecklers turned violent and threw a brick which struck Hattie Mae Hill. The white mob surrounded the car the Deacons were using to attempt an evacuation of the terrified girl.

As the mob threatened to break into the car, Deacon Henry Austin shouted that he had a gun. Then he fired a warning shot from his .38 into the air. The mob kept closing in. Austin then fired almost point blank into the chest of Alton Crowe who was in the front of the mob. While Crowe survived, the fun of beating up on blacks died that afternoon in Bogalusa.

All the white liberals in the north and their black allies, with all their clucking that defensive violence would only provoke more violence, had failed to get the feds to enforce their civil rights laws. Henry Austin and the Deacons succeeded. After all, if the police and the National Guard had not been mobilized, there might have been harm to Klansmen.

The battle raged for another year or so, but the Jonesboro and Bogalusa resistance efforts proved to be the turning point. Klan meetings became more likely to involve admiration of a colleague's tooth than to plot a terrorist act that might get Klansmen killed.

Addendum:

Second Amendment attorney Don Kates showed this column to a friend of his who is a Yale law professor in 2005. In the 1960's, he was an eye witness to the effectiveness of the Deacons for Defense, as this note to Don Kates states.

Don:

I was in New Orleans in August 1965, working as a just-graduated law student with the black law firm (Collins, Douglas, & Elie) who represented CORE. When I and a few other whites went to Bogalusa to help the bogalusa Voters League stage a protest march there, we were met outside of town by the Deacons and escorted to the BVL staging area by a black man in a pickup truck equipped with a shotgun prominently displayed, and although we were followed by whites who knew what we were there for, they did not stop our truck, presumably because they knew we were armed. We proceeded with the march amid much heckling, threats, and verbal abuse by the crowds of whites lining the route but the Deacons maintained order while the local police stood by brandishing weapons that could have been used against us rather than against the mob. I shall never forget the pride, courage, and hospitality displayed by the black community there, threatened by their townsmen but protected by their own Deacons. I have no doubt that their weapons had something to do with it

 

[CinnaSlim]

we need to get rid of this troll.

I couldnt neg her for whatever reason. :jmrly:

Anyway...

 

[cole phelps]

The Mitch Thomas Show
The Mitch Thomas Show debuted on August 13, 1955, on WPFH, an unaffiliated television station that broadcast to Philadelphia and the Delaware Valley from Wilmington.10 Born in West Palm Beach, Florida, Mitch Thomas graduated from Delaware State College and served in the army before becoming the first black disc jockey in Wilmington, Delaware, in 1949.11 His television show, broadcast every Saturday, resembled Philadelphia's Bandstand, at the time a local program hosted by Bob Horn, and other locally broadcast teenage dance programs. The Mitch Thomas Show stood out because it was the first television show hosted by a black deejay that featured a studio audience of black teenagers. Otis Givens, who lived in South Philadelphia and attended Ben Franklin High School, remembered that he watched the show every weekend for a year before he finally made the trip to Wilmington to dance on air. "When I got back to Philly, and everyone had seen me on TV, I was big time," Givens recalled. "We weren't able to get into Bandstand, [but] The Mitch Thomas Show gave me a little fame. I was sort of a celebrity at local dances."12 Similarly,

South Philadelphia teen Donna Brown recalled in a 1995 interview, "I remember at the same time that Bandstand used to come on, there used to be a black dance thing that came on, and it was The Mitch Thomas Show . . . And that was something for the black kids to really identify with. Because you would look at Bandstand and we thought it was a joke."13 The Mitch Thomas Show also became a frequent topic for the black teenagers who wrote the Philadelphia Tribune's "Teen-Talk" columns. Much in the same way that national teen magazines followed American Bandstand, the Tribune's teen writers kept tabs on the performers featured on Thomas's show, and described the teenagers who formed fan clubs to support their favorite musical artists and deejays.14 The fan gossip shared in these columns documented the growth of a youth culture among the black teenagers whom Bandstand excluded. In 1957, it was one of these fan clubs that made the most forceful challenge to Bandstand's discriminatory admissions policies.15 Although many of these teens watched both Bandstand and Thomas's show, as Bandstand grew in popularity and expanded into a national program, The Mitch Thomas Show remained the only television program that represented the region's black rock and roll fans.

Economics, more than a concern for racial equality, influenced WPFH's decision to provide airtime for this groundbreaking show. Eager to compete with Bandstand and the afternoon offerings on the other network-affiliated stations, WPFH hoped that Thomas's show would appeal to both black and white youth in the same way as black-oriented radio.16 The station's bet on Thomas was part of a larger strategy that included hiring white disc jockeys Joe Grady and Ed Hurst to host a daily afternoon dance program that started at 5 p.m., after Bandstand concluded its daily broadcast. While The Grady and Hurst Show broadcast five times per week, the weekly Mitch Thomas Show proved to be more influential.




Drawing on Thomas's contacts as a radio host and on the talents of the teenagers, the program helped shape the music tastes and dance styles of young people in Philadelphia. In a 1998 interview for the documentary Black Philadelphia Memories, Thomas recalled that "the show was so strong that I could play a record one time and break it wide open."17 Indeed, Thomas's show hosted some of the biggest names in rock and roll, including Ray Charles, Little Richard, the Moonglows, and Frankie Lymon and the Teenagers. It also featured vocal harmony groups from the Philadelphia area.18 Thomas promoted large stage shows as well as small record hops at skating rinks.19 These events were often racially integrated, "The whites that came, they just said, 'Well I'm gonna see the artist and that's it.' I brought Ray Charles in there on a Sunday night, and it was just beautiful to look out there and see everything just nice."20

Ray Smith, who attended American Bandstand frequently and has done research for one of dikk Clark's histories of the show, remembers that he and other white teenagers watched The Mitch Thomas Show to learn new dance steps. Describing the "black Bandstand," Smith recalled:

First of all, black kids had their own dance show, I think it was on channel 12, but one of the reasons I remember it is because I watched it. And I remember that there was a dance that [American Bandstand regulars] Joan Buck and Jimmy Peatross did called "The Strand" and it was a slow version of the jitterbug done to slow records. And it was fantastic. There were two black dancers on this show, the "black Bandstand," or whatever you want to call it. The guy's name was Otis and I don't remember the girl's name. And I always was like "wow." And then I saw Jimmy Peatross and Joan Buck do it, who were probably the best dancers who were ever on Bandstand. I was talking about it to Jimmy Peatross one day, when I was putting together the book, and he said, "Oh, I watched this black couple do it." And that was the black couple that he watched.21

 

[cole phelps]

These white teenagers were not alone in watching The Mitch Thomas Show. Smith’s experience of watching the show supports Mitch Thomas’ belief that “[American Bandstand teens] were looking to see what dance steps we were putting out. All you had to do was look at ‘Bandstand’ the next Monday, and you’d say, ‘Oh yeah, they were watching.’”[vii] They were watching, for example, when dancers on The Mitch Thomas Show started dancing The Stroll, a group dance where boys and girls faced each other in two parallel lines, while couples took turns strutting down the aisle. Thomas remembers that the teens on his show “created a dance called the Stroll. I was standing there watching them dancing in a line, and after a while I asked them, ‘what are y’all doing out there?’ They said, ‘that’s The Stroll.’ And The Stroll became a big thing.”[viii] The Stroll was actually a new take on swing-era line dances, and while the teens on The Mitch

Thomas Show did not invent The Stroll, they, along with young fans of black R&B in other cities, were among the first young people in the country to perform the new version of the dance.[ix] The Stroll was inspired by R&B artist Chuck Willis’s song “C.C. Rider,” itself a remake of the popular blues song “See See Rider Blues,” which was first recorded and copyrighted by Ma Rainey in the 1920s and was subsequently recorded by dozens of others artists. Following Willis, a string of other R&B songs were produced based on the dance. By late 1957, the Diamonds, a white vocal group that frequently recorded cover versions of black R&B songs, released “The Stroll,” a song made specifically for the dance. dikk Clark was a friend of the Diamonds’s manager, Nat Goodman, and told him: “if we could have another stroll-type record, you’d have yourself an automatic hit.”[x] The Diamonds version outsold the others largely because American Bandstand played the song repeatedly. In addition to helping move the Diamonds’s version of the song up the charts, the frequent spins also falsely established American Bandstand as the originator of the dance. The show offered viewers instruction on how to do the Stroll by showing close-ups on the dancers’ feet during the dance.[xi] The show’s yearbook offered fans of more explicit instruction on the dance.

All this emphasis on American Bandstand as the birthplace of The Stroll upset some of the teenagers on The Mitch Thomas Show. Thomas later recalled that Clark was gracious when he complained to him about American Bandstand taking credit for the dance. “I called dikk Clark and told him my kids were a little upset because they were hearing that the Stroll started on ‘Bandstand’” Thomas remembered. “He said no problem. He went on the show that day and said, ‘Hey man, I want you all to know The Stroll originated on the Mitch Thomas dance show.’”[xii] While Clark was courteous in this instance in acknowledging the creative influence of The Mitch Thomas Show on American Bandstand, the television programs remained in a vastly inequitable relationship. The Mitch Thomas Show broadcast to the Delaware Valley on an independent station that was not affiliated with one of the three major networks. American Bandstand, on the other hand, reached a national audience of millions with the financial backing of advertisers, ABC, and Walter Annenberg’s media assets. The question of the Stroll’s origins remained contentious because such “new” dances were one of the many products that American Bandstand sold to viewers. The appropriation of these creative energies contributed to the frustration felt by black teens who were denied admission to the show. The dance styles perfected by the black teenagers on The Mitch Thomas Show did reach a national audience, but the teens themselves were not depicted as part of the national youth culture American Bandstand broadcast to viewers.

 

[DMGAINGREEN]

Computer scientist and engineer Mark Dean is credited with helping develop a number of landmark technologies, including the color PC monitor, the Industry Standard Architecture system bus and the first gigahertz chip.

 

[wickedsm]

Love this thread



Will add some later from the laptop.

 

[TL15]

HOF bound

 

[MBwithadream]

lets honor this tough, fearless, relentless brother

he's been an inspiration to me as long as i can remember

one of the bravest black men to ever walk this earth

Malcolm X - Wikipedia, the free encyclopedia

That Malcolm X movie is one of the best movies I have ever seen.