Filiz Akın - Turkish actress of Circassian and Albanian descent
Diego Barrueco by Dimitris Theocharis
Some variations in Hebrew cursive (click on images for descriptions)
Table 1 (from the Jewish Encyclopedia):
- Incantation upon Babylonian dish
- Egyptian, 12th century.
- Constantinople, 1506.
- 10th century.
- Spanish, dated 1480.
- Spanish, 10th century.
- Provençal, 10th century.
- Italian, 10th century.
- Greek, dated 1375.
- Italian, dated 1451.
- Italian, 10th century.
- German, 10th century.
- Eleazer of Worms, copied at Rome in 1515 by Elias Levita
- Ashkenazi, 19th century.
France’s politicians and community leaders have criticised the “intolerable” violence against Paris’ Jewish community, after a pro-Palestinian rally led to the vandalizing and looting of Jewish businesses and the burning of cars. It is t…
I happened upon this article Phillip P. Keene shared on his FB. So really, people, read it well, because this is not about something that’s happened in 1938, it’s happening today in 2014.
This is Kristallnacht all over again, and just like in ‘38, no one says a word.
What is wrong with this world? Do we really need to get to the point where people are gassed again before someone thinks this is wrong? Really?
I’m a plant too I swear
The Face February 2000
Drama In Pygamas, Let’s All Go Bananas
Photographer: Jonathan West
Edward Curtis - The North American Indian
“In 1906, J. P. Morgan provided Curtis with $75,000 to produce a series on the North American Indian. The work was to be in 20 volumes with 1,500 photographs.
Morgan’s funds were to be disbursed over five years and were earmarked to support only fieldwork for the books, not for writing, editing, or production of the volumes. Curtis himself would receive no salary for the project, which was to last more than 20 years.
Curtis’s goal was not just to photograph, but to document, as much American Indian (Native American) traditional life as possible before it disappeared.
He wrote in the introduction to his first volume in 1907:
The information that is to be gathered…respecting the mode of life of one of the great races of mankind, must be collected at once or the opportunity will be lost.
Curtis made over 10,000 wax cylinder recordings of Indian language and music.
He took over 40,000 photographic images from over 80 tribes.
He recorded tribal lore and history, and he described traditional foods, housing, garments, recreation, ceremonies, and funeral customs.
He wrote biographical sketches of tribal leaders, and his material, in most cases, is the only written recorded history although there is still a rich oral tradition that documents history.”
1. Klamath Indian at Crater Lake
2. Two Whistles, Apsaroke
3. Dancing to Restore an Eclipsed Moon
7. Bear Bull - Blackfoot
8. Red Cloud
9. Apache Gaun
10. Offering to the Sun - San Ildefonso
What a picture of Indian character this affords: a mere infant starting out alone into the fastnesses of the mountain wilds, to commune with the spirits of the infinite, a tiny child sitting through the night on a lonely mountain-top, reaching out its infant’s hands to God! On distant and near-by hills howl the coyote and the wolf. In the valleys and on the mountain side prowl and stalk all manner of animals. Yet alone by the little fire sits the child listening to the mysterious voices of the night.
Curtis has been praised as a gifted photographer but also criticized by some contemporary ethnologists for manipulating his images. Although the early twentieth century was a difficult time for most Native communities in America, not all natives were doomed to becoming a “vanishing race.” At a time when natives’ rights were being denied and their treaties were unrecognized by the federal government, many natives were successfully adapting to western society. By reinforcing the native identity as the noble savage and a tragic vanishing race, some believe Curtis detracted attention from the true plight of American natives at the time when he was witnessing their squalid conditions on reservations first-hand and their attempt to find their place in Western culture and adapt to their changing world.
In many of his images Curtis removed parasols, suspenders, wagons, and other traces of Western material culture from his pictures. In his photogravure In a Piegan Lodge, published in The North American Indian, Curtis retouched the image to remove a clock between the two men seated on the ground.
He also is known to have paid natives to pose in staged scenes, wear historically inaccurate dress and costumes, dance and partake in simulated ceremonies. In Curtis’ picture Oglala War-Party, the image shows 10 Oglala men wearing feather headdresses, on horseback riding down hill. The photo caption reads, “a group of Sioux warriors as they appeared in the days of inter tribal warfare, carefully making their way down a hillside in the vicinity of the enemy’s camp”. In truth, headdresses would have only been worn during special occasions and, in some tribes, only by the chief of the tribe. The photograph was taken in 1907 when natives had been relegated onto reservations and warring between tribes had ended. Curtis paid natives to pose as warriors at a time when they lived with little dignity, rights, and freedoms. It is therefore suggested that he altered and manipulated his pictures to create an ethnographic simulation of native tribes untouched by Western society. (x)
there was a great post i saw the other day that mentioned the role of supplying and supporting israel in the american military industrial complex and i want to read more about this because i think that + the way lobbying is mobilized in the layout of american political institutions (i can explain this a bit more if you’d like) results in a large part of the aggressive pro-israel narishkeit in north american media, and it provides a way better explanation than some of the “oh the zionists control the media!1!” bullshit i’ve been seeing on here
by Craig Schmidt