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Katherine Johnson’s mathematical calculations helped guide some of America’s most important early space missions while she confronted the racial and gender barriers faced by Black women in twentieth-century America.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
| Designers | David Chang |
|---|---|
| Players | 2–7 |
| Setup time | 5–15 minutes |
| Playing time | about 3 hours |
| Chance | Medium |
| Skills | Simple mathematics (such as counting, finding percentages and multiplication); social skills; negotiation |
Ghettopoly is a parody of the board game Monopoly invented by David Chang, a Taiwanese American,[1] and released in 2003.[2] The game uses Monopoly-like mechanics but is themed around a caricature of a black ghetto in the United States.
In Ghettopoly, the four railroad properties from the standard version of Monopoly are replaced by liquor stores. Other properties include a massage parlor, a peep show and a pawn shop. The Community Chest and Chance squares become Ghetto Stash and Hustle squares, while taxation squares are replaced by police-shakedown and carjacking squares.[3]
Instead of building houses and hotels, property owners in Ghettopoly build crack houses and projects. The seven game pieces include: a pimp, a hoe, a 40 oz, a machine gun, a marijuana leaf, a crack rock, and a basketball.[3]
"Buying stolen properties, pimpin’ ho’s, building crack houses and projects, paying protection fees, and getting car jacked are some of the elements of the game. Not dope enough?...If you don't have the money that you owe to the loan shark you might just land yourself in da Emergency Room."
The game was criticized as offensively racist by a local chapter of the NAACP[4] and by black clergy,[5] as well as by Asian American groups, including the National Asian Pacific American Legal Consortium and Organization of Chinese Americans.[6]
The game was pulled from the market by Urban Outfitters, just one of its many retailers. Chang continued to market the game without their support. According to Chang's website, which still sells the game, it is also available on Amazon. Another Monopoly variant, Redneckopoly, is also available at ghettopoly.com. Further such games were planned, including Hoodopoly, Hiphopopoly, and Thugopoly.
In October 2003, Hasbro sued Chang over the game's similarities to Monopoly.[7] In January 2006, Chang was found in contempt of court for failure to produce documents. The court thus entered a "default judgment" for Hasbro's continued use of "Monopoly" as a trademark, and dismissed Chang's counterclaims, which were to revoke trademark status on Monopoly. In May 2006, the court estimated that Chang generated US$8,790,000 in profits from the sale of Ghettopoly, and that damages of $400,000 were reasonable as reflected in the court documents.[citation needed]
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Ghettopoly is a parody of the board game Monopoly invented by David Chang, a Taiwanese American, and released in 2003. The game uses Monopoly-like mechanics but is themed around a caricature of a black ghetto in the United States.
Blackface is the practice of performers of any race or ethnicity, usually white people, using burned cork, shoe polish, or theatrical makeup to portray a racialized caricature of black people, e.g. African Americans, on stage or in entertainment. It is overwhelmingly condemned as a racist and deeply inappropriate act. Scholarship on the origins or definition of blackface vary with some taking a global perspective that includes European culture and Western colonialism. Scholars with this wider view may date the practice of blackface to as early as Medieval Europe's mystery plays when bitumen and coal were used to darken the skin of white performers portraying demons, devils, and damned souls. Others date the practice to English Renaissance theater, in works such as William Shakespeare's Othello and Anne of Denmark's personal performance in The Masque of Blackness. Blackface became a global phenomenon as an outgrowth of theatrical practices of racial impersonation in theatres across the British Empire, where it was integral to the development of imperial racial politics. However, some scholars see blackface as a specific practice limited to American culture that began in the minstrel show; a performance art that originated in the United States in the early 19th century and which contained its own performance practices unique to the American stage. Scholars taking this point of view see blackface as arising not from a European stage tradition but from the context of class warfare from within the United States, with impoverished white American laborers inventing blackface as a means of expressing their anger over being disenfranchised—economically, politically, and socially—from middle and upper-class White America. In the United States, the practice of blackface became a popular entertainment during the 19th century into the 20th. It contributed to the spread of racial stereotypes such as "Jim Crow", the "happy-go-lucky darky on the plantation", and "Zip Coon" also known as the "dandified coon". By the middle of the 19th century, blackface minstrel shows had become a distinctive American artform, translating formal works such as opera into popular terms for a general audience. Although minstrelsy began with white performers, by the 1840s there were also many all-Black cast minstrel shows touring the United States in blackface, as well as Black entertainers performing in shows with predominately white casts in blackface. Some of the most successful and prominent minstrel show performers, composers and playwrights were themselves Black, such as: Bert Williams, Bob Cole, and J. Rosamond Johnson. Early in the 20th century, blackface branched off from the minstrel show and became a form of entertainment in its own right, including Tom shows, parodying abolitionist Harriet Beecher Stowe's 1852 novel Uncle Tom's Cabin. In the United States, blackface declined in popularity from the 1940s, with performances dotting the cultural landscape into the civil rights movement of the 1950s and 1960s. It was generally considered highly offensive, disrespectful, and racist by the late 20th century, but the practice (or similar-looking ones) was exported to other countries.
A mammy is a U.S. historical stereotype depicting women of African descent, usually enslaved, who did domestic work, including nursing children. The fictionalized mammy character is often visualized as a dark-skinned woman with a motherly personality. The origin of the mammy figure stereotype is rooted in the history of slavery in the United States, as enslaved women were often tasked with domestic and childcare work in American slave-holding households. The mammy caricature was used to create a narrative of women of African descent being content within the institution of slavery among domestic servitude. The mammy stereotype associates African-American women with domestic roles, and it has been argued that it, alongside racial segregation and discrimination, limited job opportunities for Black American women during the Jim Crow era (1877 to 1966).
Rastus is a pejorative term traditionally associated with African Americans in the United States. It is considered offensive. As a type of stock character, Rastus is meant to portray ignorance and foolishness. Similar images have appeared in advertising, prominently as the mascot for Cream of Wheat, which prompted objections from activists.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →Shirley Chisholm, elected in 1968.