How One Photographer Documented The Segregated South

❝ Monumental shifts were occurring in America during the time that photographer Hugh Mangum was working in North Carolina and the Virginias. It was the height of the Jim Crow era, when the nation was starting to see laws separating whites from blacks. But as a businessman who needed to support his family, Mangum didn’t discriminate between clientele, therefore leaving behind an archive that tells a different story of the segregated South at the turn of the 20th century…

❝ Mangum, I learned, often used a Penny Picture Camera that was designed to allow multiple and distinct exposures on a single glass plate negative. This was ideal for creating inexpensive novelty pictures because it meant multiple subjects could be photographed on a single negative. The order of the images on a single glass plate mirrored the order in which Mangum’s diverse clientele rotated through the studio. Thus, the negatives reasonably represent a day’s work for this gregarious photographer.

❝ The vibrancy of black communities building new identities and creating futures in Durham and elsewhere is not lost on Mangum’s negatives. His black clients present themselves as lighthearted, resolute and everything in between. They bring their children to the studio to be photographed, an ode to the hope they have for the lives their sons and daughters will live. Though we don’t know the identity of most of Mangum’s sitters, it’s probable that many of the black men and women pictured were working publicly and privately to establish black agency, independence and community vitality.

All while the two old parties worked their abuse of Constitutional freedoms to rebuild the edifice of bigotry through Jim Crow laws. Methodology, dedication, sleaze and hypocrisy repeated in following decades to support US involvement in colonial wars, populist puppet shows and more.

Is there anything about taxes that Trump doesn’t lie about?

trump-ugly
Click to enlargediscovered by Univision reporter Enrique Acevedo

An adviser to Donald Trump on Tuesday offered a new explanation for why a portrait of Trump — paid for by the Republican nominee’s charitable foundation — wound up on display at a Trump-owned golf resort in Florida.

Trump, the adviser said, was actually doing his charity a favor, by “storing” its painting on the wall of a bar at Trump National Doral, outside Miami…

MSNBC’s Hallie Jackson pressed Boris Epshteyn. Was he really talking about the $10,000 portrait that was recently discovered — by an Univision journalist — at the Champions Bar and Grill? “You’re telling me that that is storage, for Mr. Trump?” Jackson.

“Right, of course, he’s doing a good thing for his foundation,” Epshteyn said.

That appeared to be the first time that anyone connected to Trump has explained the rationale behind the placement of the portrait, which was discovered by Univision’s Enrique Acevedo last week.

Trump bought the painting at a charity auction in 2014, with a winning bid of $10,000. Later, he paid with a check from the Donald J. Trump Foundation — a small charity, whose tax records show no personal donations from Trump himself since 2008.

By law, tax experts said, the portrait then belonged to the Trump Foundation, and Trump was required to find a charitable use for it. If he did not, Trump risked violating laws against “self-dealing,” which prohibit leaders of nonprofit groups from using their charities’ money to buy things for themselves or their businesses.

Tax experts were not impressed by this reasoning.

“It’s hard to make an IRS auditor laugh,” Brett Kappel, a lawyer who advises nonprofit groups at the Akerman firm, said in an email. “But this would do it.”

I’m confounded by Trumpkins who say they’re looking for a champion to fight against government lies and corruption – and they choose one of the most corrupt pigs slopping at the corporate real estate trough in the whole nation.

NASA satellite provides breathtaking new view of Earth


Click to enlarge

NASA’s Deep Space Climate Observatory (DSCOVR) has returned a breathtaking image of planet Earth from a distance of roughly one million miles from the homeworld. The image captures the full disk of our planet showing a stunning sunbathed vista of blue oceans and swirling clouds, with glimpses of the North and Central America land masses.

Thanks to the proliferation of Earth observation platforms coupled with the all-pervading reach of social media, images of our planet from space are easy to come by. However, most Earth imaging observatories are too close to the planet to capture a complete picture of the complex ecosystem that we call home…

DSCOVR…having reached its planned orbit in February, is capable of snapping regular high detail portraits of spaceship Earth from a staggering 1 million miles above its surface. This new image is a near perfect example of DSCOVR’s capabilities, displaying Earth hanging against the infinite blackness of space, granting a notion of the fragility of our planet, with a beauty to rival any image of Earth’s full disk taken to date…

The image was captured from the orbiter’s Earth Polychromatic Imaging Camera (EPIC), which boasts the capacity to observe our planet with the use of 10 narrowband filters between the ultraviolet to near infrared spectrums. In this case, three separate images were combined to create a finished piece with near photographic-quality.

My new favorite Blue Marble photograph.

Bush tries to perpetuate a lie in the caption for his official portrait

The U.S. National Portrait Gallery says it has amended the caption accompanying the portrait of President George W. Bush at the request of a U.S. senator.

The revised biographical caption, requested by Sen. Bernie Sanders, I-Vt., eliminated the wording, “the (terrorist) attacks on September 11, 2001, that led to wars in Afghanistan and Iraq…

The newspaper said Sanders objected to the phrasing in a letter to the National Portrait Gallery, writing, “When President Bush and Vice President Cheney misled our nation into the war in Iraq, they certainly cited the attacks on September 11, along with the equally specious claim that Iraq possessed vast arsenals of weapons of mass destruction.

“The notion, however, that 9/11 and Iraq were linked, or that one ‘led to’ the other, has been widely and authoritatively debunked,” he wrote.

Gallery director Martin Sullivan ordered that the caption be amended…

Of course, the lamebrains who believe his crap will keep right on swearing to his lies for decades to come.