The next time you see someone with jewelry that says “trust no man,” don’t judge them for their “man hating” or “bougie” ways. Rather, commend them for their superb taste in music.

“Trust no man” is actually a reference to a reference to a 1926 song of the same name by Gertrude “Ma” Rainey, a Georgian and African-American pioneer of blues music. 

I want all you women to listen to me

Don’t trust your man no further than your eyes can see

I trusted my man with my best friend

But that was a bad bargain in the end

A feminist before there was really a term for it, Rainey was also notorious for getting into trouble with small-town authorities over her “women-only parties.” She was a brazen lady-lovin’ badass well-worthy of a 21st century signal boost.

Ma Rainey literally had a song Prove it On Me Blues where she pretty much said “I’m a big fat lesbian but you’re never going to catch me and if you dont think thats some of the dopest shit i dont wanna talk to you

(via bannerisms)

“IN A GRAVEYARD in the village of Weybridge, Vermont, stands an unusual headstone. It is inscribed with the names of two women, Sylvia Drake and Charity Bryant, who were born during the Revolutionary era and died in the middle of the 19th century. The women were pillars of their community for four and a half decades … They were also, according to their own understanding and that of those around them, a married couple.”

Historian Rachel Hope Cleves uncovers the fascinating story of same sex marriage in Vermont, 1807. (via oupacademic)

Book is called “Charity & Sylvia: A Same-Sex Marriage in Early America” (Oxford University Press)” 

(via engrprof)

(via tasteslikefail)





Malcolm X: Our History Was Destroyed By Slavery 

on March 17, 1963 in Chicago.

see how little we get taught about history - I never had any idea why Malcolm X used the ‘X’. 

How come I didn’t know this

Also that crusty old white man called the named ‘gifted’. Jesus.

'GIFTED' Kill me

If you’ve never actually listened to Malcolm X before, I hope you’ll start with this.

(via boppinrobin)




The thing about this is that sculptures like these in art history were for the male gaze. Photoshop a phone to it and suddenly she’s seen as vain and conceited. That’s why I’m 100% for selfie culture because apparently men can gawk at women but when we realize how beautiful we are we’re suddenly full of ourselves…


Girls don’t let anyone tell you loving yourself is vanity.

(via tasteslikefail)


this should be taught in school

the 369th infantry regiment

The 369th. Nicknamed the Harlem Hellfighters, (The Germans named them Hellfighters because they fought like hell, never lost ground and never had any men captured. One third of the 369th died in combat). were the first all-black regiment to fight in World War I. Even before they left for duty, the Hellfighters had to endure the racist taunts, jeers and violent attacks from their fellow white soldiers on the Camp Whitman base. The regiment had arrived in France in early 1918 and was trained for several months in French military camps. By May they were fighting on the Front lines, where they spent the next six months— longer than any other American unit during the war. The entire unit was given the distinguished Croix de Guerre by the French national government for their service.

But their heroism and valor were never recognized back home.

Despite the sacrifices and courage displayed by African American soldiers during the war, they nevertheless encountered a virulent backlash of white racism upon their return to the United States. A number of newly discharged soldiers- still wearing their uniforms- were lynched by white mobs. The post-war landscape was rife with racial and economic tension. The demobilization of the troops was met with severe and rising inflation and unemployment. At the war’s end, approximately 9 million people were employed in industries pertaining to the overseas effort. The war effort had provided openings for the migration of blacks into urban manufacturing jobs, but with the war’s end job scarcity fueled the notion among working class white workers that blacks were taking their places in the labor force.

Racial violence erupted in the summer of 1919, in what Harlem Renaissance poet and intellectual James Weldon Johnson would call “Red Summer.” On 27 July, in the Northern city of Chicago, Eugene Williams was drowned by white swimmers who threw rocks at the young African American boy for swimming too close to a white beach. The black community was outraged after police refused to arrest those responsible for Williams’ death. Rioting erupted throughout the city, and for the next five days, black neighborhoods were the sites of terror, burning and lynching. By the beginning of August, the city lay in disrepair, 38 dead, 500 injured, and over 1,000 black people homeless.

The fear of organized black labor was the catalyst for more racial violence and terror in Elaine, Arkansas. In early October, as black farmers and sharecroppers met to organize a union, a white mob swarmed down upon them in attempts to break up the meeting. The violence that ensued left over 100 black farmers dead and their farms destroyed. Throughout the South, independent black farmers and unions became the targets of racist violence and lynching.

Throughout the summer and fall, 24 other race riots erupted within American cities, all instigated by white acts of violence. In the Washington, D.C. riots, whites were shocked to find that black urbanites quickly organized collective resistance and militantly stood their ground. Indeed the war had meant something to black Americans; it meant that if they were to support the fight for democracy abroad, they would wage one for equality at home.
-Amistad Digital Resource

(via kellysue)


While Black experiences with racism and anti-Blackness are used as analogies/metaphors and narratives to shape the experiences of non-Black people while erasing Black people’s experiences and humanity (as I discussed in White People Using Blackness and Anti-Black Racism Analogies For Their Experiences Is NOT Intersectionality), these experiences past and present are indicative of our lives, our history, our deaths. A reality. Not an anecdote to lead into something else. 

Michael Brown's execution and all of these extrajudicial executions are indicative of violence that never was truly “past” as it is always present. And it is a REALITY—not a metaphor—with a human cost in Black mental and physical health, in Black safety, in Black bodies. 

Below are the links mentioned in the tweets that I sent above: Black Women Were Lynched TooConsuming Black DeathFamily of Michael Brown, Teenager Shot to Death By Ferguson Police, Talks About His Life.

And look, I am disinterested in White supremacist sociopaths, anti-Black non-Black people of colour or unfortunately some Black people who have internalized racism and believe that the politics of respectability can protect us to now throw out the violent lie, derailment and misnomer (“Black on Black crime” is a misnomer and epistemic violence) that Black people “don’t care about intraracial crime.” This is a VIOLENT type of derailment and is dehumanization. When every race has intraracial crime yet only Black people are deemed to “not care” despite evidence to contrary and then civilian crime is juxtaposed to extrajudicial executions as modern lynchings and State violence? The false equalization is not solely epistemic violence; it is a direct attack on the mental health and well-being of Black people. Save it. (And notably, this derailment only addresses violence between cishet Black men; never a mention about any other Black people cared about or not.)

Black life is valuable in it of itself. Not solely as a trope for consumption with erasure and a demand that we feel gleeful about the erasure to prove “solidarity.” Anti-Blackness and misogynoir are not “progressive.” Michael Brown’s life MATTERED…FULL STOP.

Peace to every Black victim and family of this violence. (My own family is one of them, by the way.)

Peace to Michael Brown’s mother and his family. 

(via rubyvroom)


25 year old Chen Yen-hui recreates makeup looks from the Tang dynasty

People gotta signal boost the fuck out of this because you know it won’t get the attention it deserves till a white person copies it

(via tasteslikefail)



Today we step into the Archie McPhee Library to explore a macabre and fascinating book entitled The Nutshell Studies of Unexplained Death [Buy on Amazon] by Corinne May Botz, whose outstanding photos reveal one of the strangest and most significant tools in the development of modern forensic analysis: eighteen miniature, exhaustively detailed crime scene models built in the 1940s and 50s by pioneering criminologist Frances Glessner Lee (1878-1962). She called her models “Nutshell Studies” because, “the purpose of a forensic investigation is said to be to ‘convict the guilty, clear the innocent, and find the truth in a nutshell.’”

Glessner Lee was a grandmother in her 60s when she painstakingly created these dollhouse models, each of which is based on an actual homicide, suicide or accidental death. To help ensure accuracy she attended autopsies and made sure that even the smallest details of her models were correct. Clothing is appropriately worn out, pencils write, locks, windows, and lights all function, whistles blow, and mice inhabit the walls. These astonishing models were (and still are!) used to train detectives on how to asses visual evidence.

Corinne May Botz’s lush color photographs lure viewers into every crevice of Frances Lee’s models and breathe life into these deadly miniatures, which present the dark side of domestic life, unveiling tales of prostitution, alcoholism, and adultery. The accompanying line drawings, specially prepared for this volume, highlight the noteworthy forensic evidence in each case. Botz’s introductory essay, which draws on archival research and interviews with Lee’s family and police colleagues, presents a captivating portrait of Lee.

Frances Glessner Lee was also an heiress who used her considerable fortune to found Harvard’s department of legal medicine, the first forensic pathology program in the nation. In 1943 she was appointed an honorary Captain in the New Hampshire State Police. She was the first woman in the United States to hold that rank.

It’s a dark topic, to be sure, but this beautiful book is an intimate and utterly captivating look at the work of a truly remarkable woman and one of the most important figures in the development of modern forensic analysis.

[Images via the New York Times and The Nutshell Studies of Unexplained Death]

This is your semi-regular reminder that a really smart and skilled lady made dollhouse version of crime scenes to train police detectives on how to asses and interpret visual evidence. In the 1940s and 50s. They are currently kept in Baltimore at the Office of the Chief Medical Examiner and can only be viewed by appointment (they also loan them out to other police agencies).

There is also a documentary about the Nutshell Studies that is available to stream on netflix called “Of Dolls and Murder” which is super good and narrated by John Waters (who else?) and you should watch it if you want to know more. Although I have to warn you, no one tells you the solutions to these crimes.

You should also listen to the missedinhistory episode about Frances Glessner Lee!

(via tasteslikefail)


Crowds gather at Cape Kennedy, Florida to watch the launch of Apollo 11, July 16, 1969.

(via lightthiscandle)


"women didn’t get the right to vote till 1920"




"what do you mea—?"



(via squintyoureyes)





Let’s not forget to acknowledge Alexandre Dumas this Black History Month

The writer of two of the most well known stories worldwide, The Three Musketeers and The Count of Monte Cristo was a black man. 

That’s excellence.

Let’s not forget that he was played on screen by a white man. And the fact that he was black is barely ever mentioned or the book he wrote inspired by his experiences.

Other things not to forget about Alexandre Dumas:

  • chose to take on his slave grandmother’s last name, Dumas, like his father did before him.
  • grew up too poor for formal education, so was largely self-taught, including becoming a prolific reader, multilingual, well-travelled, and a foodie, resulting in his writing both a combination encyclopedia/cookbook (which just— is fucking outrageous to me) AND the adaptation of The Nutcracker on which Tchaikovsky based his ballet
  • he also wrote a LOOOOT of nonfiction and fiction about history, politics, and revolution, bc he was pro-monarchy, but a radical cuss, and that got him in a lot of hot water at home and abroad.
  • even beyond that, he generally put up with a lot of racist bullshit in France, so he went and wrote a novel about colonialism and a BLATANTLY self-insert anti-slavery vigilante hero (which he then cribbed from to write the Count of Monte Cristo, the main character of which, Edmond Dantés, Dumas also based on himself).
  • (…a novel which also features a LOAD of PoC beyond the Count, and at LEAST one queer character, btw, bc EVERY MOVIE ADAPTATION OF ANYTHING BY DUMAS IS A LIE; seriously, at LEAST one of the four Musketeers is Black, y’all.)
  • famously, when some fuckshit or other wanted to come at Dumas with some anti-Black foolishness, Dumas replied, “My father was a mulatto, my grandfather was a Negro, and my great-grandfather a monkey. You see, Sir, my family starts where yours ends.”
  • http://media.tumblr.com/tumblr_m1dpg5Q35q1r5jtugo1_400.jpg
  • for the bicentennial of his birthday, Pres. Jacques Cirac was like, “…sorry about the hella racism,” and had Dumas’s ashes reinterred at the Panthéon of Paris, bc if you’re gonna keep the corpses of the cream of the crop all together, Dumas’s more widely read and translated than literally everybody else.
  • and they are still finding stuff old dude wrote, seriously; like discovering “lost” works as recently as 2002, publishing stuff for the first time as recently as 2005.






(via boppinrobin)




Normandy landing that you didnt see. 1944

Red Cross workers.

That is seriously the most badass thing I’ve ever seen.

(via maggiesox)



The Amazing Connections Between the Inca and Egyptian Cultures 

"The ancient Egyptians (in Africa) and the ancient pre-Incas/Incas (in South America) evolved on opposite sides of the globe and were never in contact.

Yet, both cultures mysteriously possessed the same strikingly identical body of ancient art, architecture, symbolism, mythology and religion.

The Victorian era scholars, faced with this enigma, concluded that both cultures must have been children of the same Golden Age parent civilization, “Atlantis.”

Today, Egyptian/Inca parallels are not only being ignored by American and Western scholars, they’re being suppressed.

Many baffling and unsolved similarities link the ancient Egyptians and the ancient pre-Incas/Incas ― even though both cultures evolved on opposite sides of the planet, separated by oceans” Read More



For starters, these architectures resemble each other only superficially. Egypt is on a flood plain. Peru is in the Ring of Fire. One area has to worry about floods; the other, earthquakes. Thus their native cultures designed their buildings accordingly, with different shapes, materials, building processes/tools and construction techniques. Only the most superficial gaze sees these stone and adobe constructions and concludes that they’re “eerily similar”, presumably because all stonework is the same? I mean FFS the blocks aren’t even shaped the same or joined in the same patterns, unless you think there’s something spookily similar about people lining stone blocks up into a row, or into pillars with a slab on top.

Secondly, I can’t identify all the sites/artifacts in these pictures, but I see at the very least Qorikancha, Chan Chan, maaaybe Huaca del Sol and what appears to be a skull from the Colca region — meaning that the person who has assembled this photoset has cherry-picked from several hundred miles (and more than a thousand years!) of distinct, disparate archaelogical sites, geographies and culturesof “Pre-Inka” history in order to match a few photos of the Egyptian pyramids, which were built in the same general region. That’s some super-duper disingenuous bullshit right there.

Finally, the Pre-Inka and Inka cultures and dynastic Egyptian mythos and religions are nothing at all alike, unless you’re the sort of person that assumes all religions with multiple gods are the same. Which a lot of Eurocentric Victorians were. 

This photoset and the accompanying article is racist bullshit; it’s the archaeological equivalent saying all brown people look alike because they’re brown. I shouldn’t even be surprised that the article invokes research “suppression” and the concept of Atlantis to explain similarities that don’t even exist, save in a racist’s mind’s eye.

(via rubyvroom)


Neil deGrasse Tyson is not impressed with all your sexism.

And the women weren’t named here either? That … that is happening a lot on and around Cosmos.

(via readwatchnaprepeat)