![Yes :yes: :yes:](/forum/images/smilies/yes.gif)
A couple having fun in the sun, Atlantic City, 1950s
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I’m calling bullshit with this one. How did the women explain to slaves far away this code? Also, corn rows require having lots of hair. Typically, slaves had short damaged hair from the sun. Plus, if they were just communicating to their immediate group, why not just tell them? This is complete nonsense.
This picture is dope! The John Brown stories are interesting in their own right... If y'all get a chance to, check out "The Good Lord Bird" on ShowtimeSam and Jane Harper, former slaves, were transported by John Brown from Missouri to freedom in Windsor Ontario, Canada in 1858. This photo was taken in December 1894.
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Sam and Jane Harper, former slaves, were transported by John Brown from Missouri to freedom in Windsor Ontario, Canada in 1858. This photo was taken in December 1894.
John Brown was one of the few honorable cacs that walked the face of the earth in the entire world.This picture is dope! The John Brown stories are interesting in their own right... If y'all get a chance to, check out "The Good Lord Bird" on Showtime
IndeedJohn Brown was one of the few honorable cacs that walked the face of the earth in the entire world.
Not to mention no tattoos all over their whole bodies
Breat implants, if they are not overdone (like Dominique Simone later in her career) are okay. Titties make women feel more like women. I get itDon't forget about the number 1 and 2 things: no breast and butt implants
So these were mostly biracial children who happened to look white?The ‘white’ slave children of New Orleans in rare photographs, 1863
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Transcript of the Harper’s Weekly article, January 30, 1864: Isaac White is a black boy of eight years, but none the less intelligent than his whiter companions. He has been in school about seven months, and I venture to say that not one boy in fifty would have made as much improvement in that space of time.
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On January 30, 1864, Harper’s Weekly started to publish portraits of children captioned “Emancipated Slaves—White and Colored,” as part of a publicity campaign to raise funds for schools for recently emancipated slaves in New Orleans. The children featured in these photographs drew attention to the fact that slavery was not solely a matter of color. If a child’s mother was a slave, then he or she was a slave as well.
The images included children with predominantly European features photographed alongside dark-skinned adult slaves with typically African features. It was intended to shock the viewing audiences with a reminder that slaves shared their humanity, and evidence that slaves did not belong in the category of the “Other”.
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By disseminating images of seemingly white children, the campaign organizers alluded to the horrific conditions of slavery while creating a palatable image of emancipation for anxious audiences. These were not the lustful, violent slaves of planters’ nightmares, but rather docile, sentimentalized children and patient, pious adults.
The pointed use of children naturalizes stereotypes of mixed-raced individuals. As historian Walter Johnson has described, frailty, delicacy, and submissiveness were all characteristics identified by slave traders and buyers as inherent to the special status and high value of light-skinned slaves on the slave market. These qualities could be read on the bodies of children without the artifice of costuming or attributes that an adult subject might have necessitated.
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At the same time, these images participated in the wider discourse of photography’s indexical relationship to nature and its ability to reveal the unseen. The pale bodies of these young children visualized miscegenation, which was and would continue to be a great source of anxiety in the wake of emancipation, but the effects of which had primarily been hidden from public scrutiny before the war.
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Moreover, through this campaign, miscegenation resulting in white slaves would be constructed as part of the history and not the future of a post-Civil-War United States. With the end of slavery legally decreed, abolitionism would need to find a new cause to champion.
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Transcript of the Harper’s Weekly article, January 30, 1864: Augusta Boujey is nine years old. Her mother, who is almost white, was owned by her half-brother, named Solamon, who still retains two of her children.
Depicted as eager to learn, patriotic, and pious, these New Orleanian children would also be used to vindicate the much-maligned abolitionist movement, which had been considered a radical political third rail in the struggle to preserve the Union in the late 1850s.
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https://rarehistoricalphotos.com/white-slave-children-photographs/
Same shit they doing to the elephants