UNBOUGHT & UNBOSSED
12 Facts About Shirley Chisholm, The First African-American to Run For President
Being the first black woman to serve on Congress would be a significant enough accomplishment for a lifetime, but it wasn’t good enough for Shirley Chisholm. Three years after she arrived in Washington, D.C., Chisholm became the first woman to run for president for the Democratic party. When announcing her intention to seek the nomination in 1972, she stated, “I’m a revolutionary at heart now and I’ve got to run, even though it might be the downfall of my career.” Though her campaign was controversial at times, it wasn’t the downfall of her long and noteworthy career. Here are a few things to know about this bold educator-turned-politician.
1. SHE HAD INTERNATIONAL ROOTS
On November 30, 1924, Shirley Anita St. Hill was born in Brooklyn, New York to Ruby Seale and Charles St. Hill. Her mother was a domestic worker who immigrated to the U.S. from Barbados; her father, a factory worker, was originally from Guyana.Being the first black woman to serve on Congress would be a significant enough accomplishment for a lifetime, but it wasn’t good enough for Shirley Chisholm. Three years after she arrived in Washington, D.C., Chisholm became the first woman to run for president for the Democratic party. When announcing her intention to seek the nomination in 1972, she stated, “I’m a revolutionary at heart now and I’ve got to run, even though it might be the downfall of my career.” Though her campaign was controversial at times, it wasn’t the downfall of her long and noteworthy career. Here are a few things to know about this bold educator-turned-politician.
2. SHE WAS BORN IN BROOKLYN, BUT SHE DIDN’T HAVE A NEW YORK ACCENT.
In 1928, Chisholm and her two sisters were sent to live with their grandmother in Barbados, while her parents stayed in New York and worked through the Great Depression. Chisholm attended a one-room schoolhouse on this island in the West Indies. In addition to receiving a British education, she picked up an accent, which remained slight but noticeable throughout her life.
3. EDUCATION HAD A SIGNIFICANT IMPACT ON HER LIFE …
Chisholm returned to the U.S. in March 1934 at age 9 and resumed with a public-school education. Following high school, she studied sociology at Brooklyn College and earned her BA in 1946. (She was a prize-winning debater in college, a skill that would serve her well throughout her political career.) She continued her education at Columbia University and earned an MA in early childhood education in 1952. While she was still a student at Columbia, she began teaching at a nursery school and married Conrad Chisholm in 1949. They would later divorce in 1977.
4. … SO MUCH SO THAT SHE BEGAN HER PROFESSIONAL CAREER IN EARLY CHILDHOOD EDUCATION.
Library of Congress
After working at the nursery school, Chisholm worked her way through the teaching ranks and by 1953 was the director of two day care centers, a position she held until 1959. Her expertise and experience led to her role as an educational consultant for New York City’s Division of Day Care from 1959 through 1964.
5. HER POLITICAL CAREER—WHICH STARTED AT THE NEW YORK STATE LEGISLATURE—WAS REVOLUTIONARY FROM THE BEGINNING.
Chisholm was a member of the League of Women Voters and the Bedford-Stuyvesant Political League before she ran for the New York State Assembly in 1964. When she won, Chisholm became the second African-American woman to serve on the state legislature. From 1965 to 1968, Chisholm served as a Democratic member and focused on unemployment benefits for domestic workers and education initiatives.
6. REDISTRICTING INSPIRED HER RUN FOR CONGRESS.
Chisholm set her sights on Congress when redistricting efforts gave Brooklyn a new congressional district. Not one to shy away from the public, Chisholm used to drive through neighborhoods while announcing, “This is fighting Shirley Chisholm coming through.” She defeated three candidates in the primary election, including a state senator, before defeating well-known civil rights activist James Farmer in the general election. This victory made her the first African-American woman elected to Congress, and she would go on to serve seven terms.
Political buttons from the collection of Alix Kates Shulman. Image credit: Polly Shulman.”
7. SHE HAD A WAY WITH WORDS AND ESTABLISHED HERSELF AS OUTSPOKEN AND READY FOR CHANGE EARLY IN HER FIRST TERM.
She was known for her bold declarations. After her upset victory in the congressional election, she boasted, “Just wait, there may be some fireworks.” And she delivered on that promise. Given her campaign slogan “Unbought and unbossed,” it should come as no surprise that Chisholm quickly made her presence known in Congress. She spoke out against the Vietnam War within the first few months of her arrival and said she would vote against military spending. When she was initially relegated to the House Agricultural Committee, she requested a new assignment, claiming that she didn’t think she could best serve her Brooklyn constituents from that position.
After directly addressing House Speaker John McCormack on the matter, she was reassigned to Veterans’ Affairs, and then moved to the Education and Labor Committee in 1971. True to her desire to bring about change, Chisholm hired all women for her office, half of whom were African-American. She was also a founding member of the Congressional Black Caucus as well as the National Women’s Political Caucus.
Chisholm with Rosa Parks (L) between 1960 and 1970. Image Credit: Library of Congress
8. HER PRESIDENTIAL CAMPAIGN WAS UNEXPECTED AND HISTORIC.
Chisholm formally announced her intention to seek the Democratic presidential nomination in January 1972, making her the first African-American to run for a major party and the first woman to vie for the Democratic nomination. During her speech, which she delivered in her hometown of Brooklyn, Chisholm said, “I am not the candidate of black America, although I am black and proud. I am not the candidate of the women’s movement of this country, although I am a woman and I am equally proud of that…I am the candidate of the people of America, and my presence before you now symbolizes a new era in American political history.”
Although her campaign wasn’t as well-funded as her competitors’, Chisholm did get her name on the primary ballot in 12 states and won 28 delegates in primary elections. She received about 152 delegates at the Democratic National Convention, coming in fourth place for the party.
9. THE CAMPAIGN TRAIL WAS FULL OF CHALLENGES.
Chisholm likely expected challenges during her campaign, and she certainly encountered a fair amount. She received multiple threats against her life, including assassination attempts, and was granted Secret Service protection to ensure her safety. Chisholm also had to sue to be included in televised debates.
There was even controversy where there could have been encouragement. Her decision to run for the Democratic nomination caught many members of the Congressional Black Caucus (CBC) off-guard, and they weren’t happy that she acted before a formal and unified decision could be made. But Chisholm was done with waiting; when the subject of the CBC came up on the night she announced her campaign, she told the crowd, “While they’re rapping and snapping, I’m mapping.”
10. SHE HAD AN UNLIKELY SUPPORTER IN GEORGE WALLACE.
Chisholm was well aware that her biggest source of support came from women and minorities and often advocated on their behalf, so it shocked many of her supporters and constituents when she visited political rival George Wallace after an assassination attempt sent him to the hospital—and ultimately left him paralyzed—in 1972. Wallace, who was governor of Alabama, was known for his racist comments and segregationist views, but Chisholm checked on him. She said she never wanted what happened to him to happen to anybody else.
Ultimately, their friendship benefited the public when Wallace came through for Chisholm on an important piece of legislation in 1974. She was working on a bill that would give domestic workers the right to a minimum wage. Wallace convinced enough of his fellow Southern congressmen to vote in favor of the bill, moving it through the House.
11. FOLLOWING RETIREMENT, CHISHOLM DIDN’T SLOW DOWN.
Chisholm retired from Congress in 1982, but leaving the political arena didn’t mean she was done making a difference. Although she planned on spending more time with her second husband, Arthur Hardwick Jr., she also returned to teaching at Mount Holyoke College in Massachusetts and continued to speak at colleges across the country.
Chisholm passed away on January 1, 2005 at age 80 in Ormond Beach, Florida. She is buried in Buffalo, New York, and the inscription on the mausoleum vault in which she is buried reads “Unbought and Unbossed.”
12. SHE CONTINUES TO GARNER ACCOLADES FOR HER TRAILBLAZING WORK.
Chisholm was inducted into the National Women’s Hall of Fame in 1993. In 2014, the U.S. Postal Service debuted the Shirley Chisholm Forever Stamp as part of the Black Heritage Series. A year later, President Barack Obama posthumously awarded her the Presidential Medal of Freedom, and there is talk of a movie being made about her life. But Chisholm never doubted what legacy she wanted to leave behind, once saying, “I want history to remember me…not as the first black woman to have made a bid for the presidency of the United States, but as a black woman who lived in the 20th century and who dared to be herself. I want to be remembered as a catalyst for change in America.”
ARTICLE RETRIEVED FROM: m.mentalfloss.com/article
The High Priestess of Liberation Soul Music
Nina Simone was one of the most extraordinary artists of the twentieth century, an icon of American music. She was the consummate musical storyteller, a griot as she would come to learn, who used her remarkable talent to create a legacy of liberation, empowerment, passion, and love through a magnificent body of works.
She earned the moniker ‘High Priestess of Soul’ for she could weave a spell so seductive and hypnotic that the listener lost track of time and space as they became absorbed in the moment. She was who the world would come to know as Nina Simone.
When Nina Simone died on April 21, 2003, she left a timeless treasure trove of musical magic spanning over four decades from her first hit, the 1959 Top 10 classic “I Loves You Porgy,” to “A Single Woman,” the title cut from her one and only 1993 Elektra album. While thirty-three years separate those recordings, the element of honest emotion is the glue that binds the two together – it is that approach to every piece of work that became Nina’s uncompromising musical trademark.
By the end of her life, Nina was enjoying an unprecedented degree of recognition. Her music was enjoyed by the masses due to the CD revolution, discovery on the Internet, and exposure through movies and television. Nina had sold over one million CDs in the last decade of her life, making her a global catalog best-seller.
No one website can fully explore the many nuances and flavors that made up the more than 40 original albums in the Nina Simone library. This site and accompanying radio station contain many of Nina’s finest works. However, we might not have had the chance to witness the breathtaking range of material Nina could cover if she hadn’t taken the path she did.
Born Eunice Kathleen Waymon in Tryon, North Carolina on February 21st, 1933, Nina’s prodigious talent as a musician was evident early on when she started playing piano by ear at the age of three. Her mother, a Methodist minister, and her father, a handyman and preacher himself, couldn’t ignore young Eunice’s God-given gift of music. Raised in the church on the straight and narrow, her parents taught her right from wrong, to carry herself with dignity, and to work hard. She played piano – but didn’t sing – in her mother’s church, displaying remarkable talent early in her life. Able to play virtually anything by ear, she was soon studying classical music with an Englishwoman named Muriel Mazzanovich, who had moved to the small southern town. It was from these humble roots that Eunice developed a lifelong love of Johann Sebastian Bach, Chopin, Brahms, Beethoven and Schubert.
After graduating valedictorian of her high school class, the community raised money for a scholarship for Eunice to study at Julliard in New York City before applying to the prestigious Curtis Institute of Music in Philadelphia. Her family had already moved to the City Of Brotherly Love, but Eunice’s hopes for a career as a pioneering African American classical pianist were dashed when the school denied her admission. To the end, she herself would claim that racism was the reason she did not attend. While her original dream was unfulfilled, Eunice ended up with an incredible worldwide career as Nina Simone – almost by default.
To survive, she began teaching music to local students. One fateful day in 1954, looking to supplement her income, Eunice auditioned to sing at the Midtown Bar & Grill on Pacific Avenue in Atlantic City, New Jersey. Word spread about this new singer and pianist who was dipping into the songbooks of Gershwin, Cole Porter, Richard Rodgers, and the like, transforming popular tunes of the day into a unique synthesis of jazz, blues, and classical music. Her rich, deep velvet vocal tones, combined with her mastery of the keyboard, soon attracted club goers up and down the East Coast. In order to hide the fact that she was singing in bars, Eunice’s mother would refer to the practice as “working in the fires of hell”, overnight Eunice Waymon became Nina Simone by taking the nickname “Nina” meaning “little one” in Spanish and “Simone” after the actress Simone Signoret.
At the age of twenty-four, Nina came to the attention of the record industry. After submitting a demo of songs she had recorded during a performance in New Hope, Pennsylvania, she was signed by Syd Nathan, owner of the Ohio-based King Records (home to James Brown), to his Jazz imprint, Bethlehem Records. The boisterous Nathan had insisted on choosing songs for her debut set, but eventually relented and allowed Nina to delve in the repertoire she had been performing at clubs up and down the eastern seaboard. One of Nina’s stated musical influences was Billie Holiday and her inspired reading of “Porgy” (from “Porgy & Bess”) heralded the arrival of a new talent on the national scene. At the same mammoth 13 hour session in 1957, recorded in New York City, Nina also cut “My Baby Just Cares For Me,” previously recorded by Nate King Cole, Count Basie, and Woody Herman. The song was used by Chanel in a perfume commercial in Europe in the 1980’s and it became a massive hit for Nina, a British chart topper at #5, and thus a staple of her repertoire for the rest of her career.
Nina Simone’s stay with Bethlehem Records was short lived and in 1959, after moving to New York City, she was signed by Joyce Selznik, the eastern talent scout for Colpix Records, a division of Columbia Pictures. Months after the release of her debut LP for the label (1959‘s The Amazing Nina Simone), Nina was performing at her first major New York City venue, the mid-Manhattan-located Town Hall. Sensing that her live performances would capture the essential spontaneity of her artistry, Colpix opted to record her September 12, 1959 show. “You Can Have Him,” a glorious torch song previously cut by Peggy Lee and Ella Fitzgerald, was one of the highlights of the evening. The song opened with a dazzling keyboard arpeggio that would become her signature for decades. So momentous was the Town Hall performance that it inspired some of the same musicians, featuring the vocals of Nina’s only daughter, Lisa Simone Kelly, to do a tribute to a sold out audience over forty five years later.
As Nina’s reputation as an engaging live performer grew, it wasn’t long before she was asked to perform at the prestigious Newport Jazz Festival. Accompanied on the June 30th,1960 show by Al Schackman, a guitarist who would go on to become Nina’s longest-running musical colleague, bassist Chris White, and drummer Bobby Hamilton, the dynamic show was recorded by the Colpix. The subsequent release in 1961 of the old blues tune “Trouble In Mind” as a single gave Nina her third charted record.
Her stay with Colpix resulted in some wonderful albums – nine in all – included Nina’s version of Bessie Smith’s blues classic “Nobody Knows You When You’re Down And Out.” Issued as a single in 1960, it became Nina’s second charted Pop and R&B hit and one of two Colpix tracks to achieve such a feat during her five year stint with the label. Other stand out tracks from that era were the soulful song “Cotton Eyed Joe,” the torch tune “The Other Women,” and the Norwegian folk rendition of “Black Is The Colour Of My True Love’s Hair” – all beautiful examples of Nina Simone at her storytelling best, painting a vivid picture with her skill as a lyrical interpreter. During this time with the label, Nina recorded one civil rights song, Oscar Brown Jr.’s “Brown Baby,” which was included on her fifth album for the label, At The Village Gate.
“Critics started to talk about what sort of music I was playing,” writes Nina in her 1991 autobiography I Put A Spell On You, “and tried to find a neat slot to file it away in. It was difficult for them because I was playing popular songs in a classical style with a classical piano technique influenced by cocktail jazz. On top of that I included spirituals and children’s song in my performances, and those sorts of songs were automatically identified with the folk movement. So, saying what sort of music I played gave the critics problems because there was something from everything in there, but it also meant I was appreciated across the board – by jazz, folk, pop and blues fans as well as admirers of classical music.” Clearly Nina Simone was not an artist who could be easily classified.
Nina’s Colpix recordings cemented her appeal to a nightclub based U.S. audience. Once she moved to Phillips, a division of Dutch owned Mercury Records, she was ready to expand her following globally. Her first LP for the label, 1964’s In Concert, signaled Nina’s undaunting stand for freedom and justice for all, stamping her irrevocably as a pioneer and inspirational leader in the U.S. Civil Rights Movement. Her own original “Mississippi Goddam” was banned throughout the South but such a response made no difference in Nina’s unyielding commitment to liberty; subsequent groundbreaking recordings for Philips like “Four Women” (recorded September 1965) and “Strange Fruit” continued to keep Nina in the forefront of the few performers willing to use music as a vehicle for social commentary and change. Such risks were seldom taken by artists during that time of such dramatic civil upheaval.
For years, Nina felt there was much about the way that she made her living that was less then appealing. One gets a sense of that in the following passage from I Put A Spell on You where she explains her initial reluctance to perform material that was tied to the Civil Rights Movement.
“Nightclubs were dirty, making records was dirty, popular music was dirty and to mix all that with politics seemed senseless and demeaning. And until songs like ‘Mississippi Goddam’ just burst out of me, I had musical problems as well. How can you take the memory of a man like [Civil Rights activist] Medgar Evers and reduce all that he was to three and a half minutes and a simple tune? That was the musical side of it I shied away from; I didn’t like ‘protest music’ because a lot of it was so simple and unimaginative it stripped the dignity away from the people it was trying to celebrate. But the Alabama church bombing and the murder of Medgar Evers stopped that argument and with ‘Mississippi Goddam,’ I realized there was no turning back.”
Nina was deeply affected by these two events. In 1962, she had befriended noted playwright Lorraine Hansberry and spoke often with her about the Civil Rights Movement. While she was moved by her conversations with Hansberry, it took the killing of Medgar Evers and the four girls in Birmingham to act as catalysts for a transformation of Nina’s career.
There were many sides to Nina Simone. Among her most amazing recordings were the original and so-soulful version “Don’t Let Me Be Misunderstood” and “I Put A Spell On You” (which had reached to #23 in the U.S. charts), eerily moody, unrestrained, drama to the max; “Ne Me Quitte Pas” tender, poignant, filled with melancholy; and with gospel-like fervor, the hypnotic voodoo of “See-Line Woman.” In her own unrivaled way, Nina also loved to venture into the more earthy side of life. After she signed with RCA Records in 1967 (a deal her then husband/manager Andy Stroud had negotiated), her very first recordings for the label included the saucy “Do I Move You?” and the undeniably sexual “I Want A Little Sugar In My Bowl” which were from the concept album entitled Nina Sings The Blues. Backed by a stellar cast of New York CIty session musicians, the album was far and away Nina’s most down-home recording session. By this time, Nina had become central to a circle of African American playwrights, poets, and writers all centered in Harlem along with the previously mentioned Lorraine Hansberry, James Baldwin and Langston Hughes. The outcome from one of the relationships became a highlight of the LP with the song “Backlash Blues,” a song that’s lyrics originated from the last poem Langston Hughes submitted for publication prior to his death in May, 1967 and gave to Nina.
Nina’s seven years with RCA produced some remarkable recordings, ranging from two songs featured in the Broadway musical “Hair” (combined into a medley, “Ain’t Got No – I Got Life,” a #2 British hit in 1968) to a Simone-ified version of George Harrison’s “Here Comes The Sun,” which remained in Nina’s repertoire all the way through to her final performance in 2002. Along the way at RCA, songs penned by Bob Dylan (“Just Like A Woman”), the brothers Gibb (“To Love Somebody”), and Tina Turner (“Funkier Than A Mosquito’s Tweeter”) took pride of place alongside Nina’s own anthem of empowerment, the classic “To Be Young, Gifted, & Black,” a song written in memory of Nina’s good friend Lorraine Hansberry. The title of the song coming from a play Hansberry had been working on just prior to her death.
After Nina left RCA, she spent a good deal of the 1970’s and early 1980’s living in Liberia, Barbados, England, Belgium, France, Switzerland and The Netherlands. In 1978, for the first time since she left RCA, Nina was convinced by U.S. jazz veteran Creed Taylor to make an album for his CTI label. This would be her first new studio album in six years and she recorded it in Belgium with strings and background vocals cut in New York City. With the kind of “clean” sound that was a hallmark of CTI recordings, the Nina Simone album that emerged was simply brilliant. Nina herself would later claimed that she ”hated” the record but many fans strongly disagreed. With an eighteen piece string section conducted by David Mathews (known for his arrangements on James Brown’s records), the results were spectacular. The title track, Randy Newman’s evocative “Baltimore,” was an inspired Nina Simone choice. It had a beautifully constructed reggae-like beat and used some of the finest musicians producer Creed Taylor could find including Nina’s guitarist and music director, Al Schackman.
Aside from 1982’s Fodder On My Wings that Nina recorded for Carrere Records, two albums she made of the independent VPI label in Hollywood (Nina’s Back and Live And Kickin’) in 1985, and a 1987 Live At Vine Street set recorded for Verve, Nina Simone did not make another full length album until Elektra A&R executive Michael Alago persuaded her to record again. After much wining and dining, Nina finally signed on the dotted line. Elektra tapped producer Andre Fischer, noted conductor Jeremy Lubbock, and a trio of respected musicians to provide the suitable environment for this highly personal reading of “A Single Woman,” which became the centerpiece and title track for Nina Simone’s final full length album.
With two marriages behind her in 1993 she settled in Carry-le-Rout, near Aix-en-Provence in Southern France. She would continue to tour through the 1990’s and became very much ‘the single woman’ she sang about on her last label recording. She rarely traveled without an entourage, but if you were fortunate enough to get to know the woman behind the music you could glimpse the solitary soul that understood the pain of being misunderstood. It was one of Nina’s many abilities to comprehend the bittersweet qualities of life and then parlay them into a song that made her such an enduring and fascinating person.
In her autobiography, Nina Simone writes that her function as an artist is “…to make people feel on a deep level. It’s difficult to describe because it’s not something you can analyze; to get near what it’s about you have to play it. And when you’ve caught it, when you’ve got the audience hooked, you always know because it’s like electricity hanging in the air.” It was that very electricity that made her such an important artist to so many and it will be that electricity that continues to turn on new people all over the world for years to come.
Nina Simone died in her sleep at her home in Carry-le-Rout, Bouches-du-Rhone on April 21, 2003. Her funeral service was attended by Miriam Makeba, Patti Labelle, poet Sonia Sanchez, actor Ossie Davis and hundreds of others. Elton John sent a floral tribute with the message, “You were the greatest and I love you”. And the legacy continues…
Read more at: www.ninasimone.com
Madam Walker, the First Black American Woman to Be a Self-Made Millionaire
As an African American curly-headed woman and social entrepreneur I am excited to share this story with you my readers. Not only for the sake of this being Black History Month, yet for the deep sense of inspiration that Madam Walker offers our organization in the establishment of our new salon and community wellness center. Being a beauty culturist myself for over 18 years, and a native of Indianapolis, Indiana, I grow up with the ability to walk into the historical building where all her magic was manufactured. Now labeled a
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From Slave To Freedom
Bridget “Biddy” Mason, born a slave in Mississippi in 1818, achieved financial success that enabled her to support her extended family for generations despite the fact that she was illiterate. In a landmark case she sued her master for their freedom, saved her earnings, invested in real estate, and became a well-known philanthropist in Los Angeles, California.
Although born in Mississippi, Mason was owned by slaveholders in Georgia and South Carolina before she was returned to Mississippi. Her last owner, Robert Marion Smith, a Mississippi Mormon convert, followed the call of church leaders to settle in the West. Mason and her children joined other slaves on Smith’s religious pilgrimage to establish a new Mormon community in what would become Salt Lake City, Utah. At the time Utah was still part of Mexico.
In 1848 30-year-old Mason walked 1,700 miles behind a 300-wagon caravan that eventually arrived in the Holladay-Cottonwood area of the Salt Lake Valley. Along the route west Mason’s responsibilities included setting up and breaking camp, cooking the meals, herding the cattle, and serving as a midwife as well as taking care of her three young daughters aged ten, four, and an infant.
In 1851 Smith and his family and slaves set out in a 150-wagon caravan for San Bernardino, California to establish yet another Mormon community. Ignoring Brigham Young’s warning that slavery was illegal in California, Smith brought Mason and other enslaved people to the new community. Along the trek Mason met Charles H. and Elizabeth Flake Rowan, free blacks, who urged her to legally contest her slave status once she reached California, a free state. Mason received additional encouragement by free black friends whom she met in California, Robert and Minnie Owens.
In December 1855 Robert Smith, fearing losing his slaves, decided to move with them to Texas, a slave state. The Owens family had a vested interest in the Mason family as one of their sons was romantically involved with Mason’s 17-year-old daughter. When Robert Owens told the Los Angeles County Sheriff that slaves were being illegally held, he gathered a posse which including Owens and his sons, other cowboys and vaqueros from the Owens ranch. The posse apprehended Smith’s wagon train in Cajon Pass, California en route to Texas and prevented him from leaving the state.
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After spending five years enslaved in a “free” state Bridget Mason challenged Robert Smith for her freedom. On January 19, 1856 she petitioned the court for freedom for herself and her extended family of 13 women and children. Los Angeles District Judge Benjamin Hayes took three days before handing down his ruling in favor Mason and her extended family, citing California’s 1850 constitution which prohibited slavery.
Mason and her family moved to Los Angeles where her daughter married the son of Robert and Minnie Owens. Mason worked as midwife and nurse, saved her money and purchased land in the heart of what is now downtown Los Angeles. Mason also organized First A.M.E. Church, the oldest African American church in the city. She educated her children and with her wealth became a philanthropist to the entire Los Angeles community. Bridget “Biddy” Mason died in Los Angeles in 1891.
Tricia Martineau Wagner, African American Women of the Old West (Guilford, Connecticut: TwoDot, an imprint of The Globe Pequot Press, 2007); Quintard Taylor, In Search of the Racial Frontier African Americans in the American West 1528-1990 (New York: W.W. Norton & Company, 1998; Dolores Hayden, The Power of Place: Urban Landscapes as Public History (Cambridge, Massachusetts: The MIT Press, 1995); Jessie Carney Smith, (editor). Epic Lives One Hundred Black Women Who Made a Difference (Detroit: Visible Ink Press, 1993).
As I woke up this morning at 3:33 am CST, I could hear my children doing their traditional shuffles. They were preparing to come and creep into the bed, with my husband and I. So as I prepared to tell them, “Go back to sleep”… I am wide-eyed checking my Facebook timeline. I scroll down, I see a friend had posted something about a domestic violence video, of a woman beating her boyfriend up for cheating.
Another post of a birth worker that just witnessed a new baby into the fold of humanity.
Lastly I came to the post of one of my good friends Nicole Deggins of Sista Midwife Productions.
She is celebrating (5 years) of service to training women in the community as Birth Sista’s/Doulas in her signature program this month. I am so proud of her.
Today being the 3rd Day of Kwanzaa which is Ujima, means collective responsibility. I am proud to be in relationship and position, to be working with such spirited women. There is a legacy to be told and a powerful level of commitment to birth such projects. Along with deep focus on collective responsibility, this day follows a key principal:
The third principle of the Nguzo Saba is a commitment to active and informed togetherness on a subject of common interest.
So my question is: How can we not identify with the princiles of the Nguzo Saba to begin building programs worth a collective commitment?
In this quote below, I took from the article that Nicole shared, sparked my whole reason for writing this “first wake” post.
Despite spending two and half times more per person on health than the OECD average, the maternal mortality rate in the U.S. – the number of women who die during or as a result of childbirth and pregnancy – increased from 12 to 14 deaths per 100,000 live births from 1990 to 2015, putting the United States at 46th in the world.
To me this is an long realized going off. A siren sounding. A gong… That we need to get to adhere to and get to work. As a social entrepreneur, birth woker, and future community developer, I have learned more about how the world works, being a mother than anything else.
Motherhood has made me extremely passionate about creating synergistic balances, within the advancement community culture, reproductive health, and child wellness. This article spoke to me this morning and I hope that it speaks to you. That you may feel inclined to be a part of the solution for multigenerational health outcomes. Thus knowing that it all begins with how we are born.
Til next time… I’m about to snuggle back into bed, with my husband and our youngest boy. Nothing like taking advantage of the power of a “second sleep.”
P.S. Check out the rest of the article below. There is a live feed from the event too. I’m gonna check it later. Leave a comment about what you think and how it relates to the 3rd Principle Of Kwanzaa Ujima.