Tag Archives: north america

#69 Period Film Review Princess Kaʻiulani–Guest Blog by Evangeline Holland

Note: This is cross-posted with permission from Edwardian Promenade.

Princess Kaiulani Movie

Released in 2009 (though with a fair share of controversy over the admittedly tasteless title, “Barbarian Princess”), with limited run last year and a DVD release in September, Princess Kaiulani is a gorgeously-shot tale of an unjustly forgotten figure in American history. Though the writing isn’t as nuanced as it could be, and there are many holes in the tale which require further reading after viewing the tale, for a movie which sheds light on a dark, yet fascinating period not often told outside of Hawaiian history, Princess Kaiulani is an excellent addition to the library of any history buff and period film aficionado. The film follows Princess Victoria Kaʻiulani Kalaninuiahilapalapa Kawekiu i Lunalilo Cleghorn (to give her full name) from shortly before her mother’s death to her own premature death at the age of 23. In between that regrettably short time span, we are shown the tenuous state of Hawaii’s royal family and its inhabitants.
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#68 Carla Speed McNeil’s Aboriginal Sci-Fi Graphic Series FINDER: A Review–Guest Blog by Noah Meernaum

Outlined routes towards discovering and conversantly addressing Carla Speed McNeil’s graphic series Finder.

Panel from Finder: Sin-Eater, Issue 9: Artist/writer: Carla Speed McNeil, Lightspeed Press, March 1998

One inspired comic maker, Carla Speed McNeil, who began self-publishing Finder through her own imprint of Lightspeed Press in 1996, has been ardently continuing to develop this ongoing graphic series since 2005 as a webcomic. The creative commitment McNeil has applied toward the progressive formation of Finder has been appreciably recognized receiving a Lulu Award in 1997 and numerous Ignatz Awards leading to several Eisner nominations since 2001 1 In transitioning her successive work to a digital domain, McNeil has continued to draw critical accolades while expanding readers’ awareness within this worldly field, and in 2009, Finder was duly awarded an esteemed Eisner for ‘Best Digital Comic’. Topically, McNeil has accepted a representative offer from one of the foremost comic book publishers in the United States, and her prolific graphic saga will soon be widely republished in chronicle volumes by Dark Horse Comics.

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#66 Fascinating Women: Madame C.J. Walker–Guest Blog by Evangeline Holland

Note: This is cross-posted with permission from Edwardian Promenade.

Madam C.J. Walker

I had to make my own living and my own opportunity! But I made it! Don’t sit down and wait for the opportunities to come. Get up and make them!

Contrary to public opinion, Madam C.J. Walker did not invent the hot comb or relaxers, and neither was she the only African-American beautician during the Gilded Age. What the former Sarah Breedlove was, however, was incredibly intelligent–a savvy entrepreneur, pioneering businesswoman, and shrewd marketer, she turned African-American beauty culture into a multimillion dollar empire never before seen. In the post-Reconstruction period, black women were alternately neglected by the vastly increasing companies catering to women’s haircare, cosmetics, and beauty, or sold toxic concoctions by greedy companies which promised “lighter skin” and “straight hair”, but ended up creating more problems for black women desperate to conform to the very narrow standards of beauty of the late 19th century.

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The Lost Town of Africville

The memorial to the town of Africville. It reads “Landed Deeded 1848-1969. Dedicated in loving memory of the first black settlers and all the former residents of the community of Campbell Road, Africville and all the members of the Seaview United Baptist Church.”

Africville was one of Canada’s oldest black settlements. Founded by Black Loyalists who fled to Nova Scotia after the American Revolutionary War, the area’s African-Canadian population grew after the War of 1812 along the Bedford Basin on Campbell Road, which was dubbed “Africville.”  Africville was never able to officially incorporate as its own town, existing alongside the city of Halifax.

Africville faced systematic discrimination through lack of positive development and government neglect. Again and again, Africville got the shaft in comparision with the rest of Halifax, which reduced the area into an industrialized slum by the first half of the 20th century:

Throughout its history, Africville was confronted with much racial isolation. The town never received proper roads, health services, water, street lamps or electricity. Simple things all towns received, they did not. The continuing issues and protests for water and sewage, clearly show the relationship between the city of Halifax and the Africvillians. The lack of these services had serious health implications for the lives of the people, and the city’s concerns for them was as existent as these facilities they demanded. Contamination of the wells was a serious and ongoing issues, so even the little water they did receive needed to be boiled before use. As the City of Halifax expanded, Africville became a preferred site for all types of undesirable industries and facilities—prison in 1853, a slaughterhouse, even a depository for fecal waste, from nearby Russellville. In 1958 the city decided to move the town garbage dump to the Africville area. While the residents knew they couldn’t legally fight this, they illegally salvaged the dump for usable goods. They would get clothes, copper, steel, brass, tin..etc. The dump was the final pin in labelling this area an official slum. In 1870 Africville also received an infectious disease hospital. (source)

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African-Americans in the Pacific Northwest–Guest Blog by Evangeline Holland

Note: This is cross-posted with permission from Edwardian Promenade.

Excerpt from the September 1913 issue of The Crisis:

Mr. Harris's Grocery, Tacoma, WA

Mr. Harris’s Grocery, Tacoma, WA

The characteristic of the Great Northwest is its unexpectedness. One looks for tall black mountains and ghostlike trees, snow and the echo of ice on the hills, and all this one finds. But there is more. There is the creeping spell of the silent ocean with its strange metamorphoses of climate, its seasons of rain and shine, until one is puzzled with his calendar and lost to all his weather bearings. Then come the cities. Portland one receives as plausible; a large city with a certain Eastern calm and steady growth. The colored population is but a handful, a bit over a thousand, but it is manly and holds its head erect and has hopes. Portland was the only place out of nearly fifty places where The Crisis has lectured that did not keep its financial contract, but this was probably a personal fault and not typical. Typical was the effort to establish a social center, to enlarge and popularize a colored hotel, to build new homes and open new avenues of employment.

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QUAINT #7 “A Question of Reciprocity” by Robert Duncan Milne

The Almirante Latorre (Chilean Navy), as the HMS Canada by the time this photo was taken. This was one of Chile's first modern battleships, built in the early 1900s. Click for source.

“A Question of Reciprocity” was a serial written by Robert Duncan Milne and appeared in San Francisco Examiner, November 15-22, 1891. Milne (1844-1899) was a San Franciscan journalist and writer whose alcoholism first destroyed his substantial talent and then killed him. During his lifetime Milne was the best of the surprisingly large number of science fiction writers of end-of-the-century San Francisco.

The new Chilean government, brought to power by a revolution, refuses to pay for a huge new battleship that the previous government had ordered. The battleship is instead purchased by a group of Chilean business magnates. They are embittered with the United States because of America’s economic and political policies with Chile, and they have decided to use the battleship to recoup some of their financial losses by holding part of the United States for ransom.

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The Fight of the Century–Guest Blog by Evangeline Holland

Note: This is cross-posted with permission from Edwardian Promenade.

Jack Johnson

Jack Johnson

By the turn of the century, the color line in sports was firmly in place, but the charismatic and controversial Jack Johnson smashed this line with a firm one-two to the jaw. Though boxing had long roots, it was a fairly new sport to Americans in the 1880s, and though banned in many states, one law which was standard across the board was to deny black boxers the right to spar with white opponents. To circumvent this rule, many African-Americans traveled to France, where mixed-race bouts were not illegal, which is where solid contenders such as Johnson, Sam Langford, and Joe Jeannette built their reputations. This law was relaxed to an extent in the late 1890s, but black boxers were still barred from fighting for the world heavyweight championship. Jack Johnson refused to accept this restriction, and he worked hard to prove his mettle, winning at least 50 fights against both white and black opponents in 1902, and beating “Denver” Ed Martin over 20 rounds for the World Colored Heavyweight Championship in 1903.

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Lunar New Year’s: A Global Perspective

For Tết (Vietnamese Lunar New Year), I’m spending the day with my family (and getting in gear for TempleCon.) But I wanted to leave a little note for today to those who celebrate Lunar New Year’s in any manner.

Most people would recognize that today is Chinese New Year, and that it is the Year of the Metal Rabbit.

For the Vietnamese, however, Feb 2nd was the start of our New Year, the Year of the Metal Cat.

Either one sounds pretty steampunk, though.

Steampunk rabbit ring. Click for link.

Andrew Chase’s cheetah. Click for link.

After the jump, check out some more info about how Lunar New Year is recognized around the world.

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#59 Multipart Extensions II, ROBOTIKA: FOR A FEW RUBLES MORE–Guest Blog by Noah Meernaum

Note: This week features Noah Meernaum, with a dual review of ROBOTIKA and its follow-up, ROBOTIKA: FOR A FEW RUBLES MORE.

Wherein the graphic series Robotika is seen to be mounting up and continuing into further outbound territory proclaimed to be steadily aided by an additional scribe (causing much trepidation upon the reviewer).

Robotika: For a Few Rubles More by Alex Sheikman (writer/illustrator), David Moran (writer/script), Joel Chua and Scott Keating (colors). Archaia Press, 2009.

Alex Sheikman’s resplendently rendered comic concoction Robotika was (as serial albums often intentionally are) left largely open-ended regarding its leading characters and had rather boldly proclaimed that its odd cast would be drawn further forth within the sequential sequel subtitled For a Few Rubles More. I reckon most readers will recall that this secondary heading is an exchanged refrain rung from Sergio Leone’s notorious noodle western For a Few Dollars More (Per qualche dollaro in più, 1965) aptly referenced by Sheikman as a flipside further molded by Russian relations. 1 This inflected impartment reflects upon Sheikman’s personal experience living in Russia and tenders due currency toward maliciously ‘made men’ or marked outlaws. 2

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#58 Multipart Extentions Round the Collected Graphic Series ROBOTIKA–Guest Blog by Noah Meernaum

Note: This week, Noah Meernaum (who previously wrote for Beyond Victoriana about racial representations in Weird West comics) returns with a dual review of ROBOTIKA and its follow-up, ROBOTIKA: FOR A FEW RUBLES MORE. The first review is below, and its companion piece will be posted on Monday.

Steampunk is currently continuing to be abundantly referenced to describe a vast array of fictional works that have presently arisen in the revitalized interest around this peculiar fantastic amalgam. Amid this extensive fictive outgrowth there is an increasing concentration towards advancing beyond any given geographical location, fixed elements, or customary Western outlooks surrounding steampunk. These alternate positions and views, while being openly encouraged as further imaginative formulations enlarging upon the allowable confines of this compound term, are sometimes held as far flung adoptions disproportionately conjoined of disagreeable parts or disparate plots.

One such decisive adaptive outthrust of steampunk is graphically pronounced in the comic series Robotika, that through its principal creator Alex Sheikman’s descriptive reference as being informed of a “samurai steampunk” is sure to directly incite those opposed to such an audacious concoction.1 Certainly this conjunction of Eastern emblems interacting with Western motifs is not novel in its projected mythical fusion. This perpetual exchange has stemmed from the pioneering films of Akira Kurosawa and continued in current re-shoots or re-slashes such as Takashai Mikke’s Sukiyaki Western Django (2007) and Ji-woon Kim’s The Good, The Bad, The Weird (2008). 2 Afro Samurai (Manga or magazine format, 1999-2000) is another preceding animate example of engaging what would appear to be disparate cultural elements portrayed through alternate perspectives. 3

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