As well as working for education, Bethune founded the Circle of Negro War Relief in New York City during World War I, was vice president of the Commission on Interracial Cooperation, and served as president for two terms in the National Association of Colored Women, advising the Coolidge and Hoover administrations on African American issues.
The Harborside Event Center is home to seven busts of local legends. Known as “The Harborside Collection,” these statues pay homage to Seminole Chief Billy Bowlegs, Captain Francis Asbury Hendry, Thomas Alva Edison, Tootie McGregor Terry, Paul Laurence Dunbar, James D. Newton and Connie Mack. Each resides in its own alcove in the north Galleria that runs along the meeting rooms at the Event Center.
African American Musical Heritage Flashcards | Quizlet
Lastly, the Emperor Haileselassie of Ethiopia has never denied Solomonic heritage because quite simply, it would be untrue if His majesty were ever to do so. His position as Emperor on the Solomonic throne of the Ethiopian Empire was a result of his heritage as descendant of this self-same, thousands of years old dynasty.
Finally, I’d like to remind you that history is an outcome of several pieces of evidence coming together such as the accounts in ancient Ethiopic writings merging with and complimenting ancient artifacts ( the prevalence of ancient Israeli cultural tools such as Shofar in current Ethiopian practices, for example).History is not about anecdotal evidence, mere hearsay or folklore. By these standards, ThyBlack Man’s account of the African Emperor Haileselassie of Ethiopia are accurate and a wonderful reminder of our collective glorious past as Black people.
Thank you Mr. Arthur Lewin.
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I realize that this is hardly news, but sometimes it seems that whiteAmericans have forgotten, or want to forget, that slavery ever existed, letalone so recently as the 1860s. There are any number of ways to put it inrevealing perspective. Think of the condition that European culture hadachieved by the mid-1800s: the emergence of Impressionist art; the great novelsof Hugo, Flaubert, Tolstoy, and Dickens; the intellectual enlightenment of deTocqueville and Descartes; the revolutionary ferment of Marx. Any averageliberal arts student encounters most of these great cultural developments tosome degree: the core of modern Western civilization was formulatingoverseas. Meanwhile, Americans still thrashed fellow humans into pitifulservitude, and treated them legally as no more than personal property. Thisunavoidable element of our nation's history is ignored over and over byideological chauvinists who oppose Affirmative Action and civil rightslegislation, who decry "reverse discrimination" and claim it is"unfair" to try to force integration or to ameliorate AfricanAmericans' disadvantages at the expense of innocent European (or Asian)Americans. ("Hey, my ancestors immigrated in 1912. I'm notresponsible for slavery!") That anyone could find in the predominance ofpoverty within black communities in America anything but the continuing legacyof human bondage is unfathomable, and truly frightening. The only conceivableexplanation is that some people keep forgetting about slavery:
Blacks killing blacks is problem African-Americans have …
To understand rock 'n' roll, therefore, we must understand what slavery was,and where it left the sons and daughters of Africans who knew nothing of theEuropean roots of American culture. For slavery provides the perfect rationale,the perfect explanation for why rock 'n' roll should stand apart from othermusical forms, as a cultural revolution unto itself. Every society, after all,has its indigenous music, which serves as entertainment, accompaniment toritual and ceremony, bonding force, story teller, preserver of history. Rock'n' roll, certainly, is modern American folk music in these respects, successorto Stephen Foster and Cole Porter. But that is only a minor facet of rock 'n'roll's place in American, indeed in world society since 1955, and the largerelements of rock's influence reach far beyond the traditional cultural adhesivestatus of other folk . To solidify this claim,and to explain it, we can point directly to slavery, which forcibly mixed theradically different elements of two cultures in a boiling cauldron (rather thana melting pot), bringing to white, rural, agrarian America a series of rhythmicand vocal traditions that originated on the other side of the planet in Africa,and adding an important spiritual, melancholy, almost fatalistic sensibilitythat grew up by itself in the slaves' imprisoned souls.