Dating While Melanated and Educated

In the age of social media and academic decadence, dating or hooking up has become an intricate Argentinian tango. Whether you’re battling the probability of having a rewarding career, a partner and children or just looking for Mr. or Ms. Right Now, the prospects for finding a decent person is best described as a trial by fire (optimistically you don’t develop permanent scar tissue). As a person who vacillates between academic and non-academic spaces dating becomes the topic of discussion. The infamous question begins with:

“Are you seeing someone?”

If I answer “no…”

the response is: “But why? You’re such a catch!”

If I say “yes…”

then I am subjected to the lightening quick response of “who is the lucky contender?”

They’re not asking simply because they wish me well or that I am no longer continuing the “my intellectual and spiritual endeavors are all I have time for” narrative. They want to know whether my potential mate is black or at the very least a non-white person. Just because someone is educated, queer identified or an ally, and politically (very liberal) doesn’t negate race-thought. Largely due to population of white vs. non-white, level of education, socio-economic status, and sexuality men and women of color are confronted with the possibility of engaging in an interracial or inter-ethnic relationship.

For example, the focus (or at least the top two) of this season’s The Bachelorette, is Rachel Lindsay’s racial consideration: whether she will choose the only black guy who’s left in the competition because he’s black. Yet, is there an intrinsically known safety in choosing to partner with someone of your own race? Simply stated, yes.

Rachel Lindsay of The Bachelorette

However, it doesn’t negate the issues of class and socialization. For example, if someone who is LatinX dates another LatinX person there is the probability of being from the same country and the ability to speak the same language with your partner. However, there is the issue of class and colonial ideology. If you’re Black there are various types of Black. Black people from the Midwest are different than East or West Coast Black folk (or what I call Coastal Blacks). Dialectically speaking, they are more aligned with Southern Blacks because their parents or grandparents are usually from the south and the cuisine and socialization are similar. There are other things such as inter and intra-racism that is known that one may not be aware of when it comes to coastal blacks. If racism within and between is experienced there is the issue of provincialism that Blacks from the Midwest and southern states experience from Coastal Blacks. It is best said from a quote from the film Amistad.

 “People from the north view southerners [and I will add, Midwesterners] as not only being geographically below but also intellectually inferior.”

That statement, which is ironically stated by a white slave owner and United States Senator, is simply based on the assumption of based on someone’s geographical origin within the United States.

To add to the topic of geographical difference, there are the issues of colorism within Black American communities and communities of color. There are also the interactions Black people encounter among Caribbean, LatinX, and immigrants and/or the children of immigrants from African countries. This is not to exclude Asian communities if anything this is to include them in the conversation. These issues are not foreign to them either. For example, Asians face the issues of colorism, assimilation and being deemed the model minority within their community as well as, from potential white partners.

To add to the complexity of dating within one’s community, people of color also deal with the issues of class which are both intellectual and economic markers of difference. This is not to cast the bulk of the blame on communities of color because racism by whites is real. The biggest overt example, is dating/hook up applications. These places make it all too painful as to what potential white partners don’t want. And yes, LGBTQ apps are often the most racist. In addition to Dating/Hooking up, online pornography re-enforces these racist sexually exploitative fantasies. I will not bother with listing titles or search topics because a simple Google search will list all that you need to know. This is not a new frontier of discourse; writers like Zora N. Hurston, Ralph Ellison, James Baldwin, Toni Morrison, Gayl Jones, David H. Hwang, and James Earl Hardy have explored the ways in which men and women of color are subjected to racist sexual objectification. This is an opposition to Puccini’s Madame Butterfly, Karl Van Vechten’s Nigger Heaven, or the novels of Kyle Onstott. Lance Horner and Henry Whittington aka Ashley Carter.  Onstott’s novel Mandingo was adapted into a play in 1961, and performed in New York City at the Lyceum Theater, and later made into a film in 1975. Sequels to Mandigo were written by Lance Horner and Henry Whittington (aka Ashley Carter). One of those sequels Drum was made into a film in 1976.

The novel Mandingo takes place in an 1830s Alabama plantation named Falconhurst and trials and tribulations of a slave named Ganymede or Mede.

Promotional poster for Mandingo (1975)

The later novel Drum is based on an entertainment fighter who was conceived through a sexual relationship with a white prostitute). Not only was Drum conceived through an illegal relationship but he came out looking far too black. So, the white prostitute lies and said that Drum’s mother was her female slave’s and not her own. Like his Ganymede/Mede, Drum was not only enslaved but forced to fight other slaves for the entertainment and profit of their master. The novels of Onstott, Whittington and Horner doesn’t just focus on the material capital of the black body but also on sexual/fetishistic taboo. Their works focus on rape by slave masters, their daughters and their wives, inter-racial desire/fetishization, incest, slave breeding, and same sex rape. For example, not only does Drum’s mother have an illegal relationship with his father but she also rapes her female slaves. Both Ganymede/Mede and Drum are forced to have sex with other female slaves and they were subjected to being raped by their master or various slave owners too. Whether the novels were part of their own fetishistic fantasies or the tales were told to him in various parlor rooms. Onstott’s novels and films are the fuel that feeds the very real fear of people of color.

Drum, novel reissue (1981)

Recently, an article written by Donovan Trott, called “Race-Play 101: My Introduction into the World of Racist Sex Fantasies,” is about the ways in which the author experienced being exposed to the racialized-sex fantasies of potential partners.

It is an unfortunate and sobering reminder of the far too often reality of what people of color experience despite their gender, sexuality and body composition.  It is one of many written articles that serve as a reminder to those who are of color and informs those that are white as to the anxieties that people of color face when dating while melanated and educated. This is not to promote a West Side Story mentality of “stick to your own kind,”  nor deny someone the freedom of dating someone outside of their own culture or race. However, it is to bring attention as to what it means when a person of color chooses to date within their culture or race and the issues one may encounter if they choose to date someone outside of their race or culture.

Bibliography

Ellison, Ralph. Invisible Man. 1952. 

Franzoni, David. Amistad. 1997.

Haywood, Corey Alexander. “(The Black Hat) 10 Ways That Dating A White Girl Will Open A Black Man’s Eyes to Racism.”

Hurston, Zora N. Their Eyes Were Watching God. 1937.

Hwang, H. David. M. Butterfly. 1987.

Jones, Gayl. Corregidora. 1975.

Jones, Owen. No Asians No black people. Why do Gay People Tolerate blatant racism?

Kirkland, Jack. Mandingo (Play), 1961.

Morrison, Toni. The Bluest Eye. 1970

—. Beloved. 1987.

—. Playing in The Dark. 1992.

Onstott, Kyle. Mandingo (Novel), 1957.

Puccini and Giacosa. Madama Butterfly, 1903.

Trott, Donovan. “Raceplay 101: My Introduction to the world of Racist Sex Fantasies.”

Van Vechten, Carl. Nigger Heaven 1926.

Wexler, Norman. Mandingo. (Film)1975.

—. Drum (Film) 1976.

—.”Racial Dating: Why you swipe right for some and not others.”

 

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OTA-Corrupted-Nadie-95

Front Album Cover of Corrupted’s 1995 Nadie

1.

Beginning one of his many books, 19th-century Danish philosopher Søren Kierkegaard writes a preface. In the book I have in mind this is followed by another and that by yet another. This book of Kierkegaard’s is a book of them. A book of beginnings of books.

i live in san francisco.

I read. I write. I listen to Corrupted and the Melvins.

My aesthetic is the literary and the λόγος, and the zeitgeist of the longue durée–the auld lang syne. This aesthetic is the love of Des Esseintes and jewel-encrusted, murdered tortoises. Like Bernardo Soares, all I want to possess is the sensation of these words.

It’s their image—material and substantial like those scents and colors of the house of Huysmans’s protagonist—that might well be read in trace here.

I want to use them.

As Audre Lorde had said, at Harvard, “In what way do I contribute to the subjugation of any part of those who I call my people?”

As a dead white man once wrote yet another white man to have said about a clearly not altogether completely different question, that is the question, and I aim to see admonishment for infelicities.

As Grace Kyungwon Hong recently wrote, for dehumanizing disavowals.

For that Banana Republic, where all roads lead to a Rome of the worst in us all. If, in the end, there will be things leftover to use, far be it from me to discover them so. I am here to problematize the problematic. I leave it to my work elsewhere to come up with ‘positive projects’.

As Warsan Shire said, we can’t make homes out of human beings. Someone should’ve already told us that.

These city lights ever the countercultural moment, I live in the bay view, beneath the avenues built during the fin de siècle of San Francisco’s golden age. Outlying these avenues, I read the books of my intellectual heritage, the west, like an appalling manifest destruction. There’s no science in such catastrophic images. There is horror and subjugation. There are lies and murders.

We’d come to California to kill and conquer—as to the New World, to the Old World—to take. In philosophy, while not at the frontlines, this is no different. Its decadence has already revealed that structures of power are structures of thought—structures of theory, belief, and conviction.

Genocidal structures of no quarter.


OTA-David-Socrates-1787

Jacques-Louis David’s 1787 The Death of Socrates (partial)

2.

I am a philosopher. My name is Aenesidemus, for this venture into being terse. I come to be known as someone who had come to be known as a philosopher and I will be forgotten much as they have been—with the little of their work there is it’s enough to note they were a skeptic and be done with it—and there, too, is affinity. The skepsis of the Greeks slew those philosophers for their ways—wrote their treatises about ways to give up their own theories let alone having to listen to the exhortations of the preponderant and domineering acolytes of others.

fuck right the fuck off.

To repurpose something profound published last year by Sara Ahmed—with an eye to recompense by discussing her perceptive and critical thoughts later this year, as a first debt as columnist, I think: “An affinity of hammers.”

To meet hammers. In the end, as Toril Moi wrote, even feminism’s aim is to abolish itself.

To fix this fucking shit and have been fucking done with it.

As Toni Cade Bambara wrote, “The job of the writer is to make revolution irresistible.”

Sublime and profound ideas.

I work to consider myself the consummate professional, in such regard. I believe no less than Dr. Cornel West tweeted just this last Valentine’s Day: “Justice is what love looks like in public.”

I’m an actor of the university industrial complex, as I’ve heard and rather appreciate it called. I might talk the talk with the somewhat ‘best’ of them, I think, yes—I cited the references.

Power reflecting power. And, yes. Plato. It’s called a conversation. One is a part of it, and yet still it’s a thing, yes. Absurd, I know.

This column is bifurcated as a dialogue, and, so, reflects the writer’s interest in logic and the ideas of contradiction and dissent. The dialectic is pedagogical, heaving from critic-as-student to critic-as-teacher and back—helical.

In this rhetorical quality, it reflects my interests in learning and academia. I speak to learning and to teaching as Heidrun Friese spoke to the hotel and the guest, so to speak. Inasmuch as the set eye to phenomenology, existentialism, and the literary—as it is with Aristotle, the proliferation of ways of knowing goes hand-in-hand with that of the same of being.

As the laundry list, I discuss love, art, truth, justice, certainty, insanity, sovereignty, and elements of ethical persuasion. I explore literature and culture.


Digital StillCamera

Lagoa Henriques’ 1988 Fernando Pessoa statue

3.

“we’ve been devastated by the severest and deadliest drought in history — that of our profound awareness of the futility of all effort and the vanity of all plans.”

That is how Fernando Pessoa began The Education of the Stoic, which comes to us as fragments. History later found the manuscript in an old trunk. Pessoa was dead.

Seventy years earlier in 1851, Arthur Schopenhauer wrote down bleak notes on the “worthlessness and vanity” of existence, unless we strive in vain after distraction despite an abject condition, after transient impermanence, and spent the last thirty years of his life in quiet futility, alone in his house with small dogs. Pessoa drank himself to death. This drought they write of is quite the devastator.

Pessoa was an early 20th-century Portuguese poet and writer who wrote prolifically and haphazardly, and created no less than 60 distinct pseudonyms. Soares was one of them. Pessoa was an artist. He engaged in automatic writing, founded art movements, published in magazines, and held a respected position in Lisbon’s intellectual scene.

Pessoa lived a craft. Ophelia Queiroz, the love of his life, was several times greeted by the fictitious poet Álvaro de Campos instead of Pessoa during their fleeting courtship. He called his pseudonyms heteronyms, and they were identities for most of which he created whole biographies and histories.

They were ideal representatives of intimate and reflective writings.

Last year at a conference in the port city of Porto, off the coast of the continent and country of my maternal heritage, I’d discussed Pessoa’s work. At a philosophy conference, I explained the work of a writer. I described a desire to expand the philosophical canon to writers and minds that didn’t write treatises like Hume or critiques like Kant, yet exemplify those last shrieking lessons of what scholars like Wittgenstein and Feyerabend set down.

That there’s an entire world out there. That it means something, and always has and it’s all nothing new. Our ivory institution has simply ignored it, towering above like some autistic savant.

I aim to be a philosophical skeptic, as columnist. Like Aenesidemus, I will work to extrapolate on what the 20th-century thinks it found out: that finding things out is an open-ended conversation.

I am influenced, and aim to comment on all these past and westphalian goings-on. I make no secret that the relation between the west and the world today is of marked concern, as I aim to illuminate elements of pervasive and problematic ethical and political circumstances that find as their genesis the antagonisms and parasitisms of that relation.

To repurpose the name of an old skeptic from a ‘school’ contending language vicious, my thoughts will be set on the thought of conceptual and epistemic revolution.


OTA-Sorrentino-Belleza-13.png

Screenshot of Paolo Sorrentino’s 2013 La Grande Bellezza (partial)

4.

I have ideas for the coming months, though everything flows. I’ll explore Carroll and Foucault on the mad, Kant and Wittgenstein on the conversant, and Ahmed and Spivak on the political. Boris’ Amplifier Worship and Sorrentino’s La Grande Bellezza might feature. I’ve also got hold of a study of the lives and loves of women poets and writers of the Caribbean, by Omise’eke Natasha Tinsley. Cixous will inevitably show up in places. Los.

The involvement of the writer in culture is organic, and a part of how everything flows. If the past is gone, it is only here as the present. As you and I are. Culture is the multifarious and interpolated existence of myriad and idiosyncratic individuals—whether Deleuze lasts for days, or speculative realism dies the sudden, tragic death of the left behind, or Lorde points to the serious and deficient want of the righting of wrongs.

I want the righting of wrongs. I want the right rules. I want love and honor, not hate or fear.

Some contemporary views note that Aristotle’s Nicomachean Ethics is leading to his Politics, yet the Philosopher—Aristotle’s medieval sobriquet—was not under the odd impression that the most important goal in Greek life—in the lives of those with which he lived—was to be politicians. To think of it as such, is to neglect historicization. The Lyceum is not San Francisco State University.

Aristotle’s point, I think, if we’re bent to give it conceptual space to breathe, is at its most charitable along the lines we heard—from consciousness-raising group to art installation, from demonstration to deliberation—during the women’s rights movement and the modern revitalization of feminism.

If eudaimonia is anything today, it is that the personal is political.

This column is personal, in such a sense. Quite like Pessoa, that I am pseudonymous does nothing to sway this. This column is Aenesidemus as the terse columnist and critic. I’m already responsible for a series of dramatic and musical compositions—tragedies and songs. A columnist, however, is something to add. There’s a sense of relevance.

there’s things to discuss.

I’m under the impression there are a staggering number of wrongs to be addressed, if not redressed, about the world. There is structural, hierarchical, and hegemonic oppression. There is something to be said.

Culture is essential—as lesson and plan. The mantra for this column is that lives are always in the balance. The personal is political. Lives are always in the balance.

We philosophers of the west love our conceptual clarity, so emphasizing that finality, of necessity, there, modally, is characteristic. Emphasizing the lives is what’s overlooked.


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The Winged Nike marble statue c. 200-190 BCE

5.

lives are always in the balance.

Pessoa wrote The Education of the Stoic using a pseudonym he called The Baron of Teive.

The Baron is pure reason embodied in text and character. Due to that drought, Pessoa has the Baron writing us a suicide note.

The preeminent rationalist finding no guide for living because, the Baron writes, the first function of life is action: a wholly intellectual life is an existential contradiction.

To think is to create an interpretation of the universe, he writes, that is a mere hallucination.

There is a metaphor that illustrates what he means in a marble statue sculpted in Hellenistic Greece at the beginning of the century after Zeno began holding his school at the Stoa, and often identified as the most famous piece of the period.

One of its names is The Winged Nike. It’s a fantastical representation of the Greek deity Nike, the goddess of victory. The winged immortal stands tall and forthright, often appraised as forcing her way forward against a strong sea breeze to signal triumph.

This statue is a striking analogue because of this perceived posture and intent, which is reminiscent of the pride the Baron feels in his conquering of that Caesar of Reality by suicide, but also because the statue no longer has its head or arms.

The Baron writes of the simple egoism of the Greeks, their Protagorean man as measure of world, and that modern culture is imbued with a tragic complex of Schopenhauerian temperament.

The statue of victory today is without a head or arms.

Modern reason achieves victory over itself by its own act destroying itself, headless and senseless.

Inorganic and empty, Pessoa’s Baron commits suicide because reason describes only the reasoner.

The world is for the unreasonable and the inhumane. Reality is for the mad.

i am mad.

I’m mad as hell and I’m not going to take this anymore.

I’m going to do something about it.


July’s Accompaniments

1. Corrupted’s 1995 Esclavo off EP Nadie
2. Joyce Manor’s 2010 Five Beer Plan off EP Constant Headache
3. Dæphne’s 2015 Sharpness Is the Game I Play off EP Full Circle
4. The Melvins’ 1991 Boris off LP Bullhead
5. From Monument to Masses’ 2003 Comrades and Friends off LP The Impossible Leap in One Hundred Simple Steps

 

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The Ring Shout and the African Presence in America

In African American and or Black American culture the African and or ancestral presence is both visible and invisible. The ways to name what is Black/African American is in music and the infamous cuisine that has come to be called soul food. Yet, the production of highly consumed products of African labor and the descendants is more American than apple pie. For example, no one realizes the blue that appears in the denim that Americans wear so regularly, the corn they consume, the peanuts, soy, rice, the domestic tools, or the music that is deemed American can thank African labor. Those things are often highlighted during Black History month when America pays lip service to the numerous contributions that African/Black Americans have made to the consumption and wealth of the country. However, the spiritual and religious contributions are often absorbed in the Black church or the way in which funerals are called “home going services.” The ring shout is a spiritual practice that has roots in the Gullah/Geechee culture of the coastal region of the Carolinas and Georgia and is seen in various places of Black culture. It is largely visible during Church services but the actual ring shout as it has been since the first ships were brought to North America and resides in the coastal region of Southeast America.

The Gullah and Geechee people that inhabit the coastal islands of Georgia as well as, North and South Carolina are the descendants of slaves and Indigenous people that were forced to inhabit these regions during the Trans-Atlantic slave trade. These island people worked the rice plantations, dyed garments with Indigo through techniques that the Africans brought from Yorubaland. These dying techniques are seen in the sacred dying practices known as Adinkra[i] in present day Ghana and Adire (the sacred dye practices of the Yoruba) with the largest concentration residing in present day Nigeria. The art of Adire which are associated with the Yoruba deity known as Osun/Oshun (O shoon)[ii]. The Gullah and Geechee people are also known for their basket weaving techniques that use the sweet grass of the coast.[iii] However, despite having drumming and drums outlawed from the Anglo/English Colonies of North America the rhythm and spirit of the culture did not die.[iv]

Instead, the Africans and their descendants had to find new ways to keep the rhythms alive. Therefore, stomping, clapping, and oral sounds were ways that the enslaved Africans could keep their musical, oral, and ancestral traditions alive while subversively appearing to acquiesce to their subjugated position. Yet, during and after slavery those who were the descendants of the enslaved and the newly emancipated were forced to assimilate to an unachievable standard of whiteness and respectability. Many who were enslaved and later emancipated were illiterate and therefore the culture was retained through oral history. Consequently, many who were enslaved were sold repeatedly and died with their history. Others as a form of survival often denied or erased their enslaved and African ancestry. While some in an act of defiance retained the oral lore and history that their ancestors retained despite the dehumanizing project of chattel slavery. Places like Cuba, Brazil, Puerto Rico, Haiti, the Dominican Republic, Trinidad and Tobago, Jamaica, St. Vincent, and Louisiana are places where people can retain a large bulk of their African past. The Gullah and Geechee people are also a part of this body of historical retention.

The ring shout is the earth based ancestral practice that the enslaved performed in order to connect with spirit, remind themselves that they too were fully human and are spiritual beings, and to pay homage to their ancestors. Unfortunately, if It wasn’t for the work of the McIntosh County shouters,[v] Julie Dash’s film, “Daughters of the Dust[vi],” Haile Gerima’s film, “Sankofa,” Gloria Naylor’s Mama Day, Toni Cade Bambara’s The Salteaters, Zora Neale Hurston’s Of Mules and Men and Their Eyes were Watching God or Luiseh Teish’s Jambalaya. African/Black Americans would not know that they have an African/Indigenous influence that does not align with Christianity.

The ring shout is a dance and song ritual that is performed in a circle that rotates counter clockwise. There is a lead singer that performs a call and response style of singing the participants respond as the lead calls out songs and rhythms are performed while the dancers rotate in a circle. There is a rhythm keeper who bangs a large wooden staff on a plank of wood which replicates the drums that were removed. Singers stomp and clap as the ring shout continues. The counter clockwise rotation replicates the ways in which Candomblé priests in Brazil[vii] perform during rituals, the Vodun of Haiti/Benin[viii], as well as priests of the Ifa/Orisa tradition in Yorubaland and Cuba.[ix]

Recently, cultural historian Rashida Bumbray has made it her mission to retain the oral, spiritual, and ancestral lore of the Ring shout[x]. Rashida Bumbray[xi], is a New York based performance artist that has studied extensively the Gullah/ Geechee people of the costal South east and the intricacies of the Ring Shout. Her installation “Run Mary Run,” was performed in Weeksville which is a former town located in Brooklyn that was the place where freemen and women of African descent lived after they were emancipated from slavery. Weeksville was discovered in the 1960s when a black historian that had a pilot’s license flew above Brooklyn and found the location. Since the re-discovery/reclamation of Weeksville[xii] there are cultural activities that commemorate the freed people that inhabited the town. Weeksville, unlike Seneca Village,[xiii] it remained intact because unlike Seneca Village it wasn’t turned into a park or paved over. Instead, it was never incorporated into the Brooklyn grid.

In addition to her installation “Run Mary Run,” hip-hop recording artist Common utilized Bumbray’s installation for his video “Black America Again,” which she (Bumbray) performs a solo in the beginning and then she and her troupe perform a ring shout[xiv].

Like many Black/African Americans I was taught and forced to ingest that we were enslaved, Lincoln freed us, Rosa Parks gave up her seat and now we are citizens. The human stain that became the ways in which blackness is quantified in this country is why many are forced to imagine their legacies before and during the Holocaust of the Trans-Oceanic Slave Trade. Nor could one imagine that we have a spiritual and cultural legacy that surpasses the ships crossing the Atlantic into North, Central, and South America or the various Oceans during the Global European expansion that brought Africans across the Pacific and Indian ocean during the same time-period. I use the term Trans-Oceanic because although I am focusing on American and the Trans-Atlantic my job is to also reveal/recover that the slave trade was not just the Atlantic but involved all the sailable bodies of water.

Instead, cultural anthropologists such as Bumbray and the breadth/celebrity of artists like Common people of African descent are reminded that we too have an ancestral/cultural legacy that began before our arrival on the shores of the Americas.

[i]http://carolventura.com/Adinkra.htm

[ii] http://www.bbc.com/news/business-25919537

http://www.enca.com/nigerian-artist-revives-ancient-art-tie-and-dye-cloth-making

[iii]

http://libguides.ccga.edu/c.php?g=282583&p=1882631

http://www.saveur.com/gullah-basket-weaving-charleston

[iv]

https://thisisafrica.me/lifestyle/drums-allowed-afro-rhythmic-mutations-america/

[v] http://www.geecheegullahringshouters.com/

https://www.youtube.com/watch?v=uxPU5517u8c

[vi] http://www.imdb.com/title/tt0104057/

[vii] http://www.npr.org/sections/parallels/2013/09/16/216890587/brazilian-believers-of-hidden-religion-step-out-of-shadows

https://www.youtube.com/watch?v=MCaXwCEYlLw

https://www.youtube.com/watch?v=IMwG6T0izKQ

[viii] https://www.youtube.com/watch?v=Jy7q_m4sKqI

[ix] https://www.youtube.com/watch?v=C38PReem1wE

[x] https://www.youtube.com/watch?v=DOJj_MNIBUg&list=PLlXj2wgxw0-8SXIE6eYnZFeoO4FxpEFZh

[xi] http://rashidabumbray.com/

[xii] http://www.weeksvillesociety.org/

[xiii] https://timeline.com/black-village-destroyed-central-park-6356723113fa

[xiv] https://www.youtube.com/watch?v=WMNyCNdgayE&t=1043s

 

 

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