Racism is Satan’s form of vanity taken to its negative extreme. The narcissistic element in racism places Whites on a pedestal that serves as a point of comparison for so-called Other races to work toward imitating. This translates into the use of Black images as an antithesis to Whiteness. Black people routinely get used and discarded when they are signaled out as validation of whose racial image is superior. Our sense of racial love is reminiscent of the mythical Greek figure of Narcissus, a man too involved in his own reflection to even notice that his disturbing image of self-love is based on an image that he captured of himself in a pool of water. Since the water’s surface was incapable of letting him caress and embrace his own image, Narcissus died a broken and pitiful man.
If White women are the pinnacles of beauty, then Black women are the alter-ego. In a world where women are unfairly divided as whores and saints, Black women become the Mary Magdalenes of female desirability. Like Mary Magdalene, they are the outsiders who are misunderstood by the mainstream. While White women are comparatively sheltered, Black women see first hand the ugly and vile fantasies and realities that only reveal themselves on a race that Whites believe are most expendable. The race of Mary Magdalene may see and receive mankind’s ugliest requests, but they also see and receive the beauty that the Son of God showed specifically to Mary Magdalene due to the fact that her race was the first to see the depths of sin and redemption.
Big Little White Lies: Our Attempt to White-Out America, by Carol Chehade, Nehmarche Publishing, Inc. 2001, pg. 120, pg. 142.
The White man this. The White man that.
Yeah, the whole White man is the only white person who has brutalized Black people that has been run into the ground ad nauseam.
White men do not hold a monopoly on racist white supremacy hatred. They have had help from White women plenty of times.
Who else was the teacher of White children in the white home?
Who else spends the most time with the White child in the gated-, segregated-, gentrified white communities?
Who has been the incubator of the Black community’s arch enemy?
Yeah, you guessed it right.
The oft-told lie that White women are less racist than White men is the sadistic trope that has allowed White women to get away with murder, time and time again.
As for so-called White women sisterhood with Black women—-such a false myth has never existed. The many times they disregarded Black women’s pleas for their help in bringing an end to their men castrating and burning alive defenseless Black men.
The begging and pleading from millions of Black women to have White women step up and demand that White men stop the lynching of Black men and boys on the trumped up charges of rape. Only when Ida Wells-Barnett, Mary Church Terrell and so many Black women implored and asked for this brutality to cease did Jessie Daniel Ames and a few White women finally open their mouths after so many decades and silence in the face of the deaths of so many, many Black men.
The numerous times when they looked the other way and covered their ears to drown out the screams of pain and terror when their men raped, and tore to pieces the bodies of defenseless Black women and girls. The times they walked past enslaved Black women who were striped bare naked and put on the slave auction block. The times they took the lash into their own hands and whipped so many Black women and men, till the blood ran.
Civil War photo of Gordon (runaway slave and Union soldier) at the Baton Rouge Union camp during his medical examination. McPherson and Oliver’s photograph of Gordon’s scarred back
Oh yes, and the times when they beat to death and broke the bodies of little innocent children because they did not move fast enough, did not clean the silverware spotless enough, did not say “Yes, ma’am” deferentially enough.
So-called solidarity between Black women and White women?
Where were you?
Never, ever did White women open up their mouths and demand that White men cease their sadistic and perverted rapes and filthy atrocities against millions of innocent and defenseless Black women and little Black girls.
Where were you?
Never did White women stand up for and in defense of Black women and girls during Reconstruction and during Jane Crow segregation. The message sent loud and clear was that the bodies and minds of Black women were so much fodder for the destruction of their bodies and the preservation of White women’s bodies. The message sent to Black women from White women was succinct and clear: “Better you than me. Better that you be broken and torn apart in the hands of vicious White men, so as to save us White women from the bestiality that would befall us white women were it not for cruelties done to so many Black women and little Black girl children.”
Where were you, White women?
Where were you, White women, when Sandra Bland died?
Where were you, White women, when Rekia Boyd died?
Where you White women, when Eleanor Bumpers, Korryn Gaines, Tanisha Anderson, Yvette Smith, Miriam Carey, and Aiyana Stanley-Jones were all slaughtered by racist gun-toting-badge-wearing race soldiers?
But, you couldn’t wait to grab Black women (those of them who meekly succumbed to your demands) to join you in your imitation-of-the March-on-Washington “Women’s March”?
Just a week after 53% of you voted for Donald Trump after his pussy-grabbing-misogynoir bleats.
In 2017, White women can still pull a Susan Smith on Black men. In 2017, White women can still lie down and cry rape. In 2017, White women can slum around in the gutter and still be exalted above every decent Black woman in the world. In 2017, White women, no matter whether she be a prostitute, a drunk driver hit-and-run murderer, a PTA mom, a SAHM, a Secretary of State, or married to the President of the United States, they will always have more value than a Black woman or girl, in the eyes of millions of racist white supremacy men who have bought into the lie that White women are better than Black women.
White women are less racist than White men?
Tell that to the fools who refuse to learn and know their history.
White women who have lived in the den of racist white supremacy and managed to come out not exposed to the power and brutality of racist white supremacy?
Dekmar says the path to the apology began when an investigator told him two elderly African-American women pointed to a historical picture saying, “They killed our people a few years ago.”
He says that in September, 1940, a group of armed, masked men took Austin Callaway from a jail and drove him away.
The next morning, a passerby found Callaway bleeding to death from gunshot wounds. He died hours later.
“What was done was wrong,” Dekmar told a diverse crowd in a Methodist church.
He apologized for the police department’s lack of response concerning the 18 year old’s murder.
“I, on behalf of the Lagrange Police Department and the city of Lagrange, want to acknowledge the police department’s failure to take crucial action in its obligation to protect Austin Callaway on September 8, 1940,” he said.
“An acknowledgment and apology is necessary to aid in healing wounds of past brutalities and injustice,” he continued.
Callaway’s family was there for the apology, including his second cousin, Glenn Dowell.
“Here comes Lagrange, Georgia, which has previously been kind of an oligarchy, ruled by an oligarchy in the community, changing. It has changed for the best,” Dowell said.
He described it as an emotional night, saying, “The tensions in the African-American (are) super-high because they’ve never seen anything like this in Lagrange before. They’ve never seen anything like this.”
Dekmar said the apology works toward bringing a deeper trust between the community and public safety officers.
“This is just one more step that is a significant step, but it’s not the concluding step,” Dekmar remarked to WRBL.
The local NAACP announced that its members accept Dekmar’s apology.
Dekamr’s mayor and some other city officials also spoke.
Mary Tyler Moore, whose witty and graceful performances on two top-rated television shows in the 1960s and ’70s helped define a new vision of American womanhood, died on Wednesday in Greenwich, Conn. She was 80.
Her family said her death, at Greenwich Hospital, was caused by cardiopulmonary arrest after she had contracted pneumonia.
Ms. Moore faced more than her share of private sorrow, and she went on to more serious fare, including an Oscar-nominated role in the 1980 film “Ordinary People” as a frosty, resentful mother whose son has died. But she was most indelibly known as the incomparably spunky Mary Richards on the CBS hit sitcom “The Mary Tyler Moore Show.” Broadcast from 1970 to 1977, it was produced by both Ms. Moore and her second husband, Grant Tinker, who later ran NBC and who died on Nov. 28.
At least a decade before the twin figures of the harried working woman and the neurotic, unwed 30-something became media preoccupations, Ms. Moore’s portrayal — for which she won four of her seven Emmy Awards — expressed both the exuberance and the melancholy of the single career woman who could plot her own course without reference to cultural archetypes.
The show, and her portrayal of Mary as a sisterly presence in the office, as well as a source of ingenuity and humor, was a balm to widespread anxieties about women in the work force.
It modeled a productive style of coed collegiality, with Ms. Moore teasing out the various ironies known to any smart woman trying to keep from cracking up in a world of scowling male bosses and preening male soloists.
“Mary Tyler Moore became a feminist icon as Mary Richards,” said Jennifer Keishin Armstrong, the author of “Mary and Lou and Rhoda and Ted: And All the Brilliant Minds Who Made The Mary Tyler Moore Show a Classic.”
“She only wanted to play a great character, and she did so. That character also happened to be single, female, over 30, professional, independent, and not particularly obsessed with getting married. Mary had America facing such issues as equal pay, birth control, and sexual independence way back in the ’70s.”
The influence of Ms. Moore’s Mary Richards can be seen in the performances of almost all the great female sitcom stars who followed her, from Jennifer Aniston to Debra Messing to Tina Fey, who has said that she developed her acclaimed sitcom “30 Rock” and her character, the harried television writer Liz Lemon, by watching episodes of “The Mary Tyler Moore Show.” Many nonactresses also said that Ms. Moore — by playing a working single woman with such compassion and brio — inspired their performances in real life.
Ms. Moore had earlier, in a decidedly different era, played another beloved television character: Laura Petrie, the stylish wife of the comedy writer played by Dick Van Dyke on “The Dick Van Dyke Show.” Also on CBS, the show ran from 1961 to 1966.
Ms. Moore was the lesser star in those days, but she shared Mr. Van Dyke’s background in song and dance, and as a comedy duo they magnified each other’s charm. Ms. Moore transformed and tamed the vaudeville style that had dominated sitcoms, perfecting a comic housewifely hysteria in Laura, made visible in the way she often appeared to be fighting back tears. Her “Dick Van Dyke Show” performance won her two Emmys.
“I heard something in her voice that got to me,” Carl Reiner, who created and produced the show, once said. “I think the fact that Mary and Dick were dancers gave the whole program a grace that very few programs have.”
Mary Tyler Moore was born on Dec. 29, 1936, in Brooklyn Heights. After living in Queens and Brooklyn, her family moved to California when she was 8. Her father, George Tyler Moore, a clerk, and her mother, the former Margery Hackett, were both alcoholics and, Ms. Moore often said, imperfect parents. The eldest of their three children, Mary would outlive both her sister, Elizabeth Moore, who died of a drug and alcohol overdose in 1978, and her brother, John Hackett Moore, who died of cancer in 1992 after Ms. Moore had assisted him in an unsuccessful suicide attempt.
While she was still a child in Los Angeles, Ms. Moore arranged to live with an aunt, choosing to see her parents only on special occasions.
At 17, she was hired to appear in a series of commercials for Hotpoint appliances in the role of Happy Hotpoint, a caped dancing elf in a body stocking. The ad was shown during episodes of “The Adventures of Ozzie and Harriet.”
In 1955, she married Richard Meeker, a salesman. That same year, she became pregnant, which compromised her effectiveness as an androgynous elf in a fitted costume. Her only child, Richard Jr., was born in 1956. He died in 1980 when a gun with a hair trigger went off in his hands; the gun model was later removed from the market.
After the birth of her son, Ms. Moore danced in various television shows before turning to acting. She had small parts on series like “Bourbon Street Beat,” “77 Sunset Strip,” “Steve Canyon” and “Hawaiian Eye.” As the answering-service girl Sam on “Richard Diamond, Private Detective,” she was more heard than seen: Her character existed only in sexy close-ups of parts of her body, including her mouth, her hands and her elegant legs.
It was another body part, her nose, that was said to have disqualified her from playing Danny Thomas’s daughter on his sitcom “Make Room for Daddy.” She was up for the role, but Mr. Thomas, who took pride in his exaggerated features, decided that her nose was too small to belong to a member of his family.
“The Dick Van Dyke Show” made Ms. Moore, who looked sylphlike in capri pants, a sensation. At Mr. Van Dyke’s behest, however, the series ended in 1966, at the height of its popularity.
Ms. Moore’s marriage to Mr. Meeker had dissolved by 1961, and she met Mr. Tinker, who was then an executive at 20th Century Fox, in 1962. They were married, in Las Vegas, the same year. Together they formed MTM Enterprises, and in the late ’60s, they hit upon an idea for a custom-made showcase.
MTM’s on-air mascot was a meowing kitten, whose image evoked, and gently satirized, MGM’s roaring lion, and the branding clicked. Mr. Tinker and Ms. Moore pitched a show to CBS about a recently divorced woman who was working and living on her own, and the network liked it.
The executives’ only reservation concerned the subject of divorce, which was still forbidden on network television. Some even feared that viewers would assume that Laura Petrie, from “The Dick Van Dyke Show,” had divorced Rob, which was unthinkable. A solution was reached: Ms. Moore’s character would be newly single but not divorced, having recently broken up with a fiancé.
In the show, Mary Richards was an associate news producer at WJM, a local television station in Minneapolis. Ed Asner played her boss, Lou Grant, who was gruff, though essentially tenderhearted; Gavin MacLeod was Murray Slaughter, a news writer with a boring life; Ted Knight was the vain, dimwit anchorman, Ted Baxter.
The female characters, as finely drawn as the men, were Rhoda Morgenstern (Valerie Harper), Mary’s neighbor, also single; Phyllis Lindstrom (Cloris Leachman), Mary’s manipulative landlady; Georgette Franklin (Georgia Engel), Ted’s baby-voiced girlfriend (and later his wife); and Sue Ann Nivens (Betty White), the husband-stealing hostess of “The Happy Homemaker.”
That Rhoda was Jewish — as was Lou, the show sometimes implied — was unusual for network television at the time. Similarly novel were hints that Mary was sexually active.
The characters all revolved around Mary, whose naïveté and enthusiasm supplied a generous assist for the others’ eccentricities. Just as she had on “The Dick Van Dyke Show,” Ms. Moore could always make a joke her own when she needed to — and the episodes that put Mary’s humor center stage were the best.
In “Chuckles Bites the Dust,” which is on many lists of the best television episodes of all time (TV Guide ranked it No. 3), Mary is appalled by her colleagues’ irreverent response to the undignified death of Chuckles the Clown, the host of a children’s show on their station. But at his funeral, it’s she who can’t control her giggles. Her struggle to suppress laughter is a comic tour de force. (David Lloyd won an Emmy for writing the episode, one of 29 the show won over all.)
“The Mary Tyler Moore Show,” which forsook the gag-a-minute sitcom formula in favor of more character-driven humor, soon became one of the most popular shows in television history, aided only partly by its position in CBS’s winning Saturday-night lineup, which also included “M*A*S*H*,” “All in the Family” and “The Carol Burnett Show.”
The writers and producers who worked on “The Mary Tyler Moore Show” went on to develop a raft of other hit sitcoms, including “Taxi,” “Cheers” and “The Simpsons.”
Among the show’s many memorable flourishes was its theme song, “Love Is All Around,” written and performed by Sonny Curtis. The lyrics were rewritten after the first season. The opening lines — “How will you make it on your own?/This world is awfully big, and girl, this time you’re all alone” — were revised to reflect the show’s optimism and devotion to its star:
“Who can turn the world on with her smile?/Who can take a nothing day, and suddenly make it all seem worthwhile?”
The adorableness of Mary Richards as a character — with her pluck and her world-brightening smile — was a mixed blessing for Ms. Moore. After the show was canceled in 1977, she set out to demonstrate her range as an actress, choosing roles in television, theater and film that distanced her from the sweetheart characters for which she had become famous.
Her efforts paid off impressively in “Ordinary People.” Her performance as the stony, guilt-ridden mother Beth Jarrett brought her a Golden Globe award as well as the Academy Award nomination. Afterward she said she based the performance on her aloof father.
Robert Redford, who directed the movie, said he had cast Ms. Moore after seeing her walking alone on a beach and realizing that she had a serious side.
In the meantime, “The Mary Tyler Moore Show” fractured into spinoffs: the sitcoms “Rhoda” and “Phyllis” and the acclaimed drama “Lou Grant,” a rare example of an hourlong series spun off from a half-hour sitcom.
This period represented a winning streak for MTM Enterprises, which was overseen almost exclusively by Mr. Tinker. The company produced not only those spinoffs but also the critical and popular hits “The Bob Newhart Show,” “Newhart,” “WKRP in Cincinnati,” “Hill Street Blues” “St. Elsewhere,” “Remington Steele” and “Rescue 911.”
On Broadway, MTM Enterprises produced Michael Frayn’s farce “Noises Off.”
In the 1980s, Ms. Moore admitted to having a drinking problem. It had started, she said, when she was starring in “The Dick Van Dyke Show” and had finally reached untenable levels. (In 2000, Mr. Van Dyke told Larry King that he was also an alcoholic and that he had also started drinking heavily while working on the show.) Ms. Moore entered the Betty Ford Center for treatment in 1984.
She had had Type 1 diabetes since her 30s and in 2011 underwent brain surgery to remove a benign tumor.
From the late 1970s into the ’80s, Ms. Moore had a string of lackluster, low-rated shows, including a 1978 variety hour, “Mary.” It lasted only three episodes and is notable mainly because David Letterman and Michael Keaton were among the regulars. It was followed that season by a hybrid variety-comedy show, “The Mary Tyler Moore Hour,” which was gone after 11 episodes. None of her shows in those years lasted more than one season.
She also sought roles that would let her express the gravitas she had shown in “Ordinary People.” In 1980, she was given a special Tony Award for her performance on Broadway as a quadriplegic who wanted to die in “Whose Life Is It, Anyway?”
On television, she played a breast cancer survivor in “First You Cry,” Mary Todd Lincoln in “Gore Vidal’s Lincoln” and the cruel director of an orphanage in “Stolen Babies,” for which she won her seventh Emmy.
In 1995, in an interview with The Times, Ms. Moore was asked if she resented being asked by reporters about Mary Richards. “I think some of them may be trying to find some way to instruct, or to make a judgment about, or in some way set themselves above me,” she said.
“I’ve come to the point in my life where I don’t have to work,” she continued. “I work because I enjoy it. I only enjoy doing things that frighten me a little bit. And I am an actress. I think I am an actress as well as a personality. And I’ve got to keep the actress in me happy.”
In the 1996 movie “Flirting With Disaster,” Ms. Moore played with aplomb the mortifying adoptive mother of Ben Stiller’s character, who at one point lifts her shirt to show her son’s girlfriend how a bra should fit. In 2001, she was executive producer of a macabre television movie, “Like Mother Like Son: The Strange Story of Sante and Kenny Kimes,” in which she also starred as the killer mom Sante.
She also became more willing to indulge in nostalgia. The 2001 television movie “Mary and Rhoda” brought Ms. Moore and Ms. Harper together again, playing older versions of their 1970s characters. (Mary was widowed, and Rhoda divorced.)
A more successful reunion came in 2003, when she starred with Mr. Van Dyke in a PBS adaptation of the Pulitzer Prize-winning play “The Gin Game.” In 2004, she and Mr. Van Dyke reunited again on “The Dick Van Dyke Show Revisited.”
She went on to make several guest appearances in 2006 as a TV host on “That ’70s Show,” which was shot on the soundstage that once belonged to “The Mary Tyler Moore Show.” In 2013, she was reunited with all four of her female “Mary Tyler Moore Show” co-stars on an episode of the sitcom “Hot in Cleveland,” whose cast included Betty White and Georgia Engel. Ms. Moore at last seemed to accept and even embrace the pop significance of the Mary Richards era.
In 2012, the Screen Actors Guild gave Ms. Moore a lifetime achievement award. Ms. Moore and Mr. Tinker divorced in 1981, although they remained friends. In 1983, she married Dr. Robert Levine, a physician, who is her only immediate survivor. The couple lived in Manhattan and Greenwich, Conn.
Outside her performing career, she was chairwoman of the Juvenile Diabetes Research Foundation International and spoke openly about her own struggle with the disease, diagnosed in the 1960s. A vegetarian, she was also an outspoken proponent of animal welfare, and she established funds for arts scholarships.
The airborne tam o’shanter that appears in a freeze frame at the end of the opening credits on “The Mary Tyler Moore Show” came to symbolize the here-goes-nothingism that Mary Richards, as well as Mary Tyler Moore, always conveyed. In 2002, a statue showing Ms. Moore tossing the hat was unveiled in downtown Minneapolis.
Correction: January 25, 2017
Because of an editing error, an earlier version of this obituary misstated the network that Ms. Moore’s ex-husband Grant Tinker ran. It was NBC, not CBS.
Correction: January 28, 2017 An obituary on Thursday about Mary Tyler Moore misspelled the surname of the actor who played Murray Slaughter on “The Mary Tyler Moore Show.” He is Gavin MacLeod, not McLeod. Because of an editing error, the obituary referred imprecisely to the Tony Award Ms. Moore received in 1980 for her performance in “Whose Life Is It, Anyway?” She was given a special Tony; she did not win in a competitive acting category. And because of another editing error, the obituary gave outdated information about where Ms. Moore and her husband, Dr. Robert Levine, lived. They had a home in Greenwich, Conn.; they no longer lived on a farm in upstate New York.
FILE – In this Aug. 28, 2015 file photo, the grave marker of Emmett Till has a photo of Till and coins placed on it during a gravesite ceremony at the Burr Oak Cemetery marking the 60th anniversary of the murder of Till in Mississippi, in Alsip, Ill. The woman at the center of the trial of Emmett Till’s alleged killers has acknowledged that she falsely testified he made physical and verbal threats, according to a new book. Historian Timothy B. Tyson told The Associated Press on Saturday, Jan. 28, 2017, that Carolyn Donham broke her long public silence in an interview with him in 2008. (AP Photo/Charles Rex Arbogast)
Key Till witness gave false testimony, historian says
NEW YORK (AP) — The woman at the center of the trial of Emmett Till’s alleged killers has acknowledged that she falsely testified he made physical and verbal threats, according to a new book.
Historian Timothy B. Tyson told The Associated Press on Saturday that Carolyn Donham broke her long public silence in an interview with him in 2008. His book, “The Blood of Emmett Till,” comes out next week.
“She told me that ‘Nothing that boy did could ever justify what happened to him,'” said Tyson, a Duke University research scholar whose previous books include “Blood Done Sign My Name” and “Radio Free Dixie.”
Emmett Till was a 14-year-old black tortured and killed in 1955 in Mississippi after allegedly whistling at a white woman, then known as Carolyn Bryant.
His murder became national news, was a galvanizing event in the civil rights movement and has been the subject of numerous books and movies. During the trial, Bryant said that he had grabbed her, and, in profane terms, bragged about his history with white woman. The jury was not present when she testified.
Donham’s then-husband, Roy Bryant, and his half-brother, J.W. Milam, were acquitted by the all-white jury. Both men, who later told Look magazine they did murder Till, have since died. Milam’s widow, Juanita Milam, would later tell the FBI she believed that Carolyn Bryant had fabricated her story. Juanita Milam died in 2014. The Justice Department re-examined the case a decade ago, but no one was indicted as a murderer or an accomplice.
On Saturday, the maker of a documentary on Till said he had long been sure that Bryant’s story was false.
“His mother had mentioned that Emmett had a speech impediment and that the things Bryant claimed he was saying he could not have said easily,” said Keith Beauchamp, whose “The Untold Story of Emmett Till” came out in 2005.
Tyson said that he spoke with Donham after her daughter-in-law, Marsha Bryant, contacted him. Bryant had read “Blood Done Sign My Name,” about a racist murder during his childhood in Oxford, North Carolina, and invited Tyson to meet with her and Donham.
Tyson said he and Donham had two conversations, both lasting 2-3 hours, and that he planned at the time to place the material in the archives at the University of North Carolina. Asked why he waited so long to publicize his findings, he responded that historians think in different terms than do journalists.
“I’m more interested in what speaks to the ages than in what is the latest media thing,” he said.
He added that he wasn’t sure whether Donham knew about the book. He said he had fallen out of touch with the family and that when he last spoke with Bryant, a few years ago, she said Donham was in poor health.
Till was a fun-loving teenager from Chicago visiting the Mississippi Delta and helping out on his great-uncle Mose Wright’s farm. On Aug. 24, 1955, Till and some other kids drove to a local store, Bryant’s, for refreshments. At Bryant’s, some of the kids stayed on the porch, watching a game of checkers, while the others filed inside to buy bubble gum and sodas. Carolyn Bryant, the 21-year-old wife of proprietor Roy Bryant, was behind the counter.
Accounts of what happened next differ.
Mrs. Bryant claimed Emmett bragged about dating white women up north. She said he grabbed her and asked her, “How about a date, baby?” Simeon Wright, his cousin, heard none of this. But there is no doubt about what he heard when they left the store, he told the AP in 2005.
Standing on the front porch, Emmett let out a wolf whistle.
Carolyn Donham’s whereabouts have long been a mystery, but North Carolina voter rolls list a Carolyn Holloway Donham. Holloway is her maiden name.
The address is for a green, split-level home in Raleigh at the mouth of a neat cul-de-sac just two turns off a busy four-lane thoroughfare. The well-tended house has burnt-orange shutters and a front-facing brick chimney decorated with a large metal sunburst. Orange flags emblazed with the word “Google” dot the lawn.
A woman, who appeared to be of late middle age, and a small barking dog appeared at the front door. When a reporter asked if this was the Bryant family home, the woman replied, “Yes.”
When asked if Carolyn Donham was at home, the woman replied, “She’s not available.”
At first, she refused to accept a business card, but relented after hearing about the upcoming book.
The Emmett Till Legacy Foundation has shared news reports about the book on Instagram and asked if Donham would have the “decency and courage” to speak with Till’s relatives.
AP National Writer Allen Breed contributed to this report from North Carolina
A White woman who lied and caused the brutal murder of an innocent Black male.
Oh, and the planet Venus is hot.
White women have been lying on Black men and Black boys for centuries.
Racist white supremacist White women through the years have been lying down with Black men and spreading their legs East, West, North, and South and then jumping up and crying rape when White male relatives walked in on the consensual sex.
White women who wanted the black penis because they smoldered in anger at their White male relatives who raped and brutalized defenseless Black women and little 7-, 10-, 13-year-old Black girls.
But, that discussion is for an upcoming post I am working on.
After the trial, J.W. Milam and Roy Bryant confessed about the murder and because of double jeopardy could not be retried on Emmett Till’s murder.
As for Juanita Milam , whatever she knew about little Emmett’s lynching, she took that to her grave. I find it hard that those four did not sit around discussing the murder after the farce of a trial ended.
The murder of Emmett took him from the loving arms of his mother, Mrs. Mamie Till.
Mamie Till Mobley collapses when her son Emmett’s body arrives at the old Illinois Central Railroad after his murder by racists in Mississippi.On her left, with the white collar, is Alva Doris Roberts’ husband, Bishop Isaiah L. Roberts, who presided over the funeral. On the right, also dressed in clerical black, is Bishop Louis Henry Ford, who did the youth’s eulogy. An Illinois freeway is named after Bishop Ford. | Sun-Times library
She may think her recanting and confessing all these years later will guarantee her a seat in Heaven. No such thing is guaranteed when you have offended the Most High and expect a quick recanting means all is forgiven at the last moment when you are near death. The Creator sees though that hypocrisy just as much as He does any other abomination.
Nazi war criminals into this century can still be brought to justice, but, the racist murdering savage rapists and murderers of so many innocent Black people—they are still allowed to roam the earth.
She may not be able to be brought to justice for murdering a young and innocent child, but, there iskismet that exists in the universe, and payback is a bitch.
Say it ain’t so! The shock and dazzle of Iridium flares will soon be a thing of the past. Here’s how to make the most of seeing them before a new generation of spacecraft replaces the Iridium satellites.
BEAUTIFUL, ALSO, ARE THE SOULS OF MY BLACK SISTERS · A BLOGSITE FOR THE PRAISING OF ALL THINGS BEAUTIFUL AND SUBLIME IN HONOR OF ALL BLACK WOMEN. "ONLY THE BLACK WOMAN CAN SAY WHEN AND WHERE I ENTER, IN THE QUIET, UNDISPUTED DIGNITY OF MY WOMANHOOD, WITHOUT VIOLENCE AND WITHOUT SUING OR SPECIAL PATRONAGE, THEN AND THERE THE WHOLE. . .RACE ENTERS WITH ME." ANNA JULIA COOPER, 1892