ethnicassets · 12 days ago
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Youtuber Brooklyn Saint Mickell analysis of Winthrop Donaldson Jordan (November 11, 1931 – February 23, 2007) was an American historian and professor who specialized in the history of slavery in the United States and racism against Black Americans. His 1968 work White Over Black: American Attitudes Toward the Negro, 1550-1812 was awarded the National Book Award in History and Biography.[1]
The work has been described in a review as "one of the most important contributions yet made to the history of racial relationships in early America",[2] and helped to inspire serious scholarly enquiry into interracial relationships in North America, specifically President Thomas Jefferson's relationship with one of his female slaves, Sally Hemings. In 1993, Jordan won a second Bancroft Prize for Tumult and Silence at Second Creek: An Inquiry into a Civil War Slave Conspiracy.[3] In this work, Jordan brought to light details of a previously unstudied slave revolt near Natchez, Mississippi. (via @wikipedia)
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sporadiceagleheart · 5 months ago
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Sophie Hélène Béatrix de France, Marie-Thérèse Charlotte de France,Élisabeth Louise Vigée Le Brun,Marie Antoinette with a Rose,Marie Antoinette,Louis XVI,Marie-Thérèse Charlotte,Louis Antoine of France, Duke of AngoulêmeLouis Joseph Xavier François,Louis XVII,Louis XVIII,Charles X,Maria Theresa of Savoy,Sophie d'Artois,Louis, Dauphin of France, Aubreigh Paige Wyatt, Ava Jordan Wood, Leiliana Wright, Star Hobson, Saffie-Rose Brenda Roussos, Lily Peters, Olivia Pratt Korbel, Elizabeth Shelley, Sara Sharif, Charlotte Figi, Jersey Dianne Bridgeman, Macie Hill, Sloan Mattingly, Audrii Cunningham, Athena Strand, Athena Brownfield, Leocadia Zorrilla, Francisco José de Goya y Lucientes, Josefa Bayeu, Francisco Javier Goya Bayeu,Charlotte Eckerman, Adolf Ulrik Wertmüller, La Belle Italienne, Mary Wollstonecraft Shelley, Anne Isabella Noel Byron, Elizabeth Cavendish, Duchess of Devonshire, Lady Elizabeth Finch-Hatton, Queen Elizabeth II, Barbara Shelley, Percy Shelley, Lady Elizabeth Pilfold Shelley, Anne Neville, John Winthrop, Mary Forth Winthrop, Margaret Tyndall Winthrop, Thomasine Winthrop, Elisabeth of Denmark, Anna von Brandenburg, Elisabeth von Brandenburg, Sir John Talbot, Elizabeth Wrottesley Talbot, Richard III, Edward of Middleham, Margaret Plantagenet, Anne Plantagenet Saint Leger, Elizabeth of York Plantagenet de la Pole Duchess of Suffolk, Edmund Plantagenet, Richard of York 3rd Duke of York, Lady Cecily de Neville Plantagenet, Katharine of Aragon, Henry Tudor, Elizabeth I, Isabella de Aragon, Juan de Aragón, Miguel da Paz, Prince of Asturias, Jacklyn Jaylen “Jackie” Cazares, Chief Thunder Cloud, Chief Yellow Thunder, Ernest White Thunder, Wa-Kin-Yan-Waste “Andrew�� Good Thunder, Maggie Snana Brass,
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drbased · 1 year ago
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Slavery - From Against Our Will: Men, Women and Rape by Susan Brownmiller
[tw for rape, violent dehumanisation, anti-black racism, misogynoir]
The American experience of the slave South, which spanned two centuries, is a perfect study of rape in all its complexities, for the black woman's sexual integrity was deliberately crushed in order that slavery might profitably endure.
In contrast to rape during the Indian wars, which was largely casual and retaliatory—men getting even with men through the convenient vehicle of a woman's body��rape under the Patriarchal Institution, as it was named by the patriarchs, was built into the system. The white man wanted the Indian's land, but the coin he extracted from blacks was forced labor. This difference in purpose affected the white man's relations with, and use of, the black woman. Rape in slavery was more than a chance tool of violence. It was an institutional crime, part and parcel of the white man's subjugation of a people for economic and psychological gain.
The Patriarchal Institution took the form of white over black but it also took the form of male over female, or more specifically, of white male over black female. Unlike the Indian woman who was peripheral to the conquest of land, the black woman was critical to slavery. She was forced into dual exploitation as both laborer and reproducer. Her body, in all of its parts, belonged outright to her white master. She had no legal right of refusal, and if the mere recognition of her physical bondage was not enough, the knife, the whip and the gun were always there to be used against her. Forced sexual exploitation of the black woman under slavery was no offhand enterprise. Total control over her reproductive system meant a steady supply of slave babies, and slave children, when they reached the age of six or eight, were put to work; it did not matter whether they were full-blooded or mulatto.
An important psychologic advantage, which should not be underestimated, went hand in glove with the economic. Easy access to numerous, submissive female bodies—and individual resistance was doomed—afforded swaggering proof of masculinity to slaveholding males, while it conversely reduced and twisted the black man's concept of his role.
"Sexually as well as in every other way, Negroes were utterly subordinated," writes historian Winthrop D. Jordan of the slave South. "White men extended their dominion over the Negroes to the bed, where the sex act itself served as a ritualistic re-enactment of the daily pattern of social dominance." Jordan's words are too temperate. "Bed" is as much a euphemism as not, and "ritualistic re-enactment" implies a stately minuet of manners—a vastly in-adequate description of the brutal white takeover and occupation of the black woman's body.
"Lawdy, lawdy, them was tribbolashuns!" an eighty-seven-year- old ex-slave by the name of Martha Jackson told a recorder for the Federal Works Project in Alabama (who wrote down her words in an approximation of her dialect). "Wunner dese here womans was my Antie en she say dad she skacely call to min' he e'r whoppin' her, 'case she was er breeder woman en' brought in chillum ev'y twelve mont's jes lak a cow bringin' in a calf."
Martha Jackson's choice of imagery was grounded in the realities of slavery. Female slaves were expected to "breed"; some were retained expressly for that purpose. In the lexicon of slavery, "breeder woman," "childbearing woman," "too old to breed" and "not a breeding woman" were common descriptive terms. In-country breeding was crucial to the planter economy after the African slave trade was banned in 1807, and the slave woman's value increased in accordance with her ability to produce healthy offspring. Domestic production of slave babies for sale to other slave states became a small industry in the fertile upper South. In
fact, it was observed to be the only reliably profitable slave-related enterprise. Quite an opposite state of affairs had existed in the North before abolition, where slavery had never been profitable. In colonial Massachusetts, one observer has written, slave babies when weaned "were given away like puppies." But the state of Virginia annually exported between six thousand and twenty-thousand homegrown slaves to the deeper South, where the land, the climate and a harsher work load took precedence over fecundity. The Virginia-reared slave, like Virginia leaf tobacco, was always in great demand.
A member of the Virginia legislature used revealing language when he addressed that patrician body in 1831:
It has always (perhaps erroneously) been considered by steady and old-fashioned people, that the owner of land had a reasonable right to its annual profits; the owner of orchards, to their annual fruits; the owner of brood-mares, to their product; and the owner of female slaves to their increase . . . and I do not hesitate to say, that in its increase consists much of our wealth.
The fellow from Virginia, Mr. Gholson, was attempting to make the point that a slaveholder would not mistreat a female slave as he would not mistreat his broodmare, since the "increase" of each needed a period of nurture in order to show a profit. In return for the production of slave babies, the female knowingly bartered for more food and a reduced work load in the weeks before and after birth. But despite Mr. Gholson's protestations, a lightened work load was not an automatic quid pro quo.
Nehemiah Caulkins, a white carpenter who worked for a time on a North Carolina rice plantation, presented this picture of breeder women in an antislavery pamphlet of 1839:
One day the owner ordered the women into the barn, he then went in among them, whip in hand, and told them he meant to flog them all to death; they immediately began to cry out, "What have I done Massa? What have I done Massa?" He replied, "D—n you, I will let you know what you have done, you don't breed, I haven't had a young one from one of you for several months." They told him they could not breed while they had to work in the rice ditches. (The rice grounds are low and marshy, and have to be drained, and while digging or clearing the ditches, the women had to work in mud and water from one to two feet in depth; they were obliged to draw up and secure their frocks about their waist, to keep them out of water, in this manner they frequently had to work from daylight in the morning till it was so dark they could see no longer.) After swearing and threatening for some time, he told them to tell the overseer's wife, when they got in that way, and he would put them upon the land to work.
The Georgia journal of Fanny Kemble, whose husband owned a pair of cotton and rice plantations, records this entry:
The women who visited me yesterday evening were all in the family way, and came to entreat of me to have the sentence (what else can I call it?) modified which condemns them to assume their labor of hoeing in the field three weeks after their confinement. They knew, of course, that I cannot interfere with their appointed labor, and therefore their sole entreaty was that I would use my influence with Mr. [Butler, her husband] to obtain for them a month's respite from labor in the field after childbearing.
Fanny Kemble was unsuccessful in her intercessionary mission. Breeder women were sometimes blatantly advertised as such, for if they were "proven," they could command a higher price. The following advertisement from the Charleston, South Carolina,
Mercury became an abolitionist classic:
NEGROES FOR SALE—A Girl about twenty years of age (raised in Virginia) and her two female children, one four and the other two years old—is remarkably strong and healthy—never having had a day's sickness, with the exception of the small pox, in her life. The children are fine and healthy. She is very prolific in her generating qualities, and affords a rare opportunity to any person who wishes to raise a family of strong and healthy servants for their own use. Any person wishing to purchase will please leave their address at the Mercury office.
It mattered little to the slaveholder who did the actual impregnating, since the "increase" belonged to him by law. Paternity was seldom entered in the slaveholder's record book, and when it did appear, it was strictly for purposes of identification. The female was often arbitrarily assigned a sexual partner or "husband" and ordered to mate. Her own preferences in this most intimate of matters may or may not have been taken into account, depending on the paternalistic inclinations of her master. "I wish the three girls you purchest had been all grown," an overseer wrote to an absent master. "They wold then bin a wife a pese for Harise & King & Nathan. Harris has Jane for a wife and Nathan has Edy. But King & Nathan had sum difuculty hoo wold have Edy. I promist King that I wold in dever to git you to bey a nother woman sow he might have a wife at home."
Sexual activity for the male slave after the day's work was done was considered by the slave and master to be in the nature of a reward, but it is difficult to make such a generalization for the female. The accepted modern authority on slavery, Kenneth M. Stampp, writes, "Having to submit to the superior power of their masters, many slaves were extremely aggressive toward each other." It is consistent with the nature of oppression that within an oppressed group, men abuse women. "We don't care what they do when their tasks are over—we lose sight of them till next day," one planter wrote. "Their morals and manners are in their own keeping. The men may have, for instance, as many wives as they please, so long as they do not quarrel about such matters."
Another slave owner kept marital law and order in the following fashion, as recorded in his diary: "Flogged Joe Goodwyn and ordered him to go back to his wife. Dito Gabriel and Molly and ordered them to come together again. Separate Moses and Anny finally. And flogged Tom Kollock [for] interfering with Maggy Cambell, Sullivan's wife." The narrative of Charles Ball, Fifty Years in Chains, tells of a slave woman who was forced to live with a fellow slave whom she thoroughly detested and feared—and who never stopped reminding her that in Africa he had ten wives! That warm, sustained relationships did develop between male and female slaves in bondage is a most profound testament to what can only be called humanity, which everything in slave life conspired to destroy.
Field laborer, house servant and breeder woman were the principal economic roles of the female slave, but she was also used by her white owner for his own sexual-recreational pleasure, a hierarchical privilege that spilled over to his neighbors ("I believe it is the custom among the Patriarchs to make an interchange of civilities of this kind," wrote a correspondent in Missouri to a New York newspaper in 1859), and to his young sons eager for initiation into the mysteries of sex. The privilege, apparently, was also expected by visitors. "Will you believe it, I have not humped a single mulatto since I am here," an aide of Steuben's wrote to a friend in condemnation of the lack of hospitality at George Washington's Mount Vernon.
The sexual privilege also filtered down to lower-class white males in the planter's employ (overseers with the power of the whip and craft workers with access to the plantation) and to certain black male slaves ("drivers") who were also handed the whip and directed to play an enforcer role within the system. At the top of the hierarchy, setting the style, was the white master.
Nehemiah Caulkins testified:
This same planter had a female slave who was a member of the Methodist Church; for a slave she was intelligent and conscientious. He proposed a criminal intercourse with her. She would not comply. He left her and sent for the overseer, and told him to have her flogged. It was done. Not long after, he renewed his proposal. She again refused. She was again whipped. He then told her why she had been twice flogged, and told her he intended to whip her till she should yield. The girl, seeing that her case was hopeless, her back smarting with the scourging she had received and dreading a repetition, gave herself up to be the victim of his brutal lusts.
Solomon Northup, a shanghaied New York freedman who was forced to spend twelve years on a Louisiana plantation and later published his narrative of bondage, wrote a sympathetic description of a field slave, Patsey, who had to endure her master's "attentions."
Patsey was slim and straight. She stood erect as the human form is capable of standing. There was an air of loftiness in her movement that neither labor, nor weariness, nor punishment could destroy. Truly, Patsey was a splendid animal, and were it not that bondage had enshrouded her intellect in utter and everlasting darkness, would have been chief among ten thousand of her people. She could leap the highest fences, and a fleet hound it was indeed that could outstrip her in a race. No horse could fling her from his back. She was a skillful teamster. She turned as true a furrow as the best, and at splitting rails there was none who could excel her. . . . Such lightning-like motion was in her fingers as no other fingers ever possessed, and therefore it was that in cotton picking time, Patsey was queen of the field.
Yet Patsey wept oftener, and suffered more, than any of her companions. She had literally been excoriated. Her back bore the scars of a thousand stripes; not because she was of an unmindful and rebellious spirit, but because it had fallen to her lot to be the slave of a licentious master and a jealous mistress. She shrank before the lustful eye of one, and was in danger even of her life at the hands of the other, and between the two, she was indeed accursed. . . . but not like Joseph, dared she escape from Master Epps, leaving her garment in his hand. Patsey walked under a cloud. If she uttered a word in opposition to her master's will, the lash was resorted to at once, to bring her to subjection; if she was not watchful when about her cabin, or when walking in the yard, a billet of wood, or a broken bottle perhaps, hurled from her mistress's hand, would smite her unexpectedly in the face. The enslaved victim of lust and hate, Patsey had no comfort of her life.
Northup described one incident in the field when he and Patsey were hoeing side by side. Patsey suddenly exclaimed in a low voice, "D'ye see old Hog Jaw beckoning me to come to him?"
Glancing sideways, I discovered him in the edge of the field, motioning and grimacing, as was his habit when half-intoxicated. Aware of his lewd intentions, Patsey began to cry. I whispered her not to look up, and to continue her work as if she had not observed him. Suspecting the truth of the matter, however, he soon staggered up to me in a great rage.
"What did you say to Pats?" he demanded with an oath. I made him some evasive answer which only had the effect of increasing his violence.
"How long have you owned this plantation, say, you d—d n****r?"
Master Epps chased Northup across the field and then re- turned to Patsey. "He remained about the field an hour or more. . . . Finally Epps came toward the house, by this time nearly sober, walking demurely with his hands behind his back, and attempting to look as innocent as a child."
Patsey's story had a terrible ending. The jealous Epps became convinced that his slave had had relations with a white neighbor. He ordered her stripped, staked and beaten into listlessness. "In- deed, from that time forward she was not what she had been. . . . She no longer moved with that buoyant and elastic step—there was not that mirthful sparkle in her eyes that formerly distinguished her. The bounding vigor—the sprightly, laughter-loving spirit of her youth, was gone."
Narratives such as Northup's, published by the Northern abolitionist press in the nineteenth century, and oral histories of former slaves that the Federal Works Projects Administration collected in the nineteen thirties cast cold light on the life-style of slavery. W h e n the female ex-slave was asked to tell of her experiences, not surprisingly she did not dwell on sex. "Them was tribbolashuns," and a combination of propriety, modesty and acute shame on the part of narrator and recorder must have conspired to close the door on any specific revelations. (Male ex-slaves, because of a freer convention among men, were permitted to discuss the sexual abuse of females.)
But horror at the sexual abuse of enslaved black women was a recurring theme among white female abolitionists. The Grimké sisters of South Carolina and Margaret Douglass and Lydia Maria Child, among others, did not let it rest. They spoke and pamphleteered relentlessly (but alas, delicately—so dictated the times) out of a strong sense of identification with their black sisters in bondage. Margaret Douglass, a Southern white woman who was convicted and jailed in Virginia for teaching black children to read, wrote from prison in 1853:
The female slave, however fair she may have become by various comminglings of her progenitors, or whatever her mental and moral acquirements may be, knows that she is a slave, and, as such, powerless beneath the whims and fancies of her master. If he casts upon her a desiring eye, she knows that she must submit; and her only thought is, that the more gracefully she yields, the stronger and longer hold she may perchance retain upon the brutal appetite of her master. Still, she feels her degradation, and so do others with whom she is connected. She has parents, brothers, sisters, a lover, perhaps, who all suffer through her and with her.
The politically keen Mrs. Douglass, writing to a white audience, then added these lines:
White mothers and daughters of the South have suffered under this custom for years; they have seen their dearest affections trampled upon, their hopes of domestic happiness destroyed. I cannot use too strong language on this subject, for I know it will meet a heartfelt response from every Southern woman. They know the facts, and their hearts bleed under its knowledge, however they may have attempted to conceal their discoveries.*
(*Kenneth Stampp unfairly uses this portion of Mrs. Douglass' letter to buttress his contention that "Southern white women apparently believed that they suffered most from the effects of miscegenation.")
Mrs. Douglass' analysis went further:
Will not the natural impulses rebel against what becomes with them a matter of force? For the female slave knows that she must submit to the caprices of her master; that there is no way of escape. And when a man, black though he may be, knows that he may be compelled, at any moment, to hand over his wife, his sister, or his daughter, to the loathed embraces of the man whose chains he wears, how can it be expected he will submit without feelings of hatred and revenge taking possession of his heart?
The slave's revenge took many forms—although white retribution was swift and certain. A traveler through the South wrote in 1856:
A Negress was hung this year in Alabama, for the murder of her child. At her trial, she confessed her guilt. She said her owner was the father of the child, and that her mistress knew it, and treated her so cruelly in consequence, that she had killed it to save it from further suffering, and also to remove a provocation to her own ill-treatment.
A visitor to Mississippi in 1836 sent a letter to a Northern friend:
The day I arrived at this place there was a man by the name of G----- murdered by a Negro man that belonged to him. [The black man was publicly lynched.] G------ owned the Negro's wife and was in the habit of sleeping with her! The Negro said he had killed him and he believed he should be rewarded in heaven for it.
The narrative of Charles Ball tells of a mulatto slave woman, Lucy, who rebelled against her forced sexual servitude to her white owner and successfully plotted with her slave lover, Frank, to kill him. Charles Ball himself played a role in their apprehension and confession. Lucy and Frank "were tried before some gentlemen of the neighborhood, who held a court for that purpose," and were hanged at a public gallows. "It was estimated by my master," Ball records, "that there were at least fifteen thousand people present at this scene, more than half of whom were blacks; all the masters, for a great distance round the country, having permitted, or compelled their people to come to this hanging."
The case of Peggy and Patrick received considerable notoriety in New Kent County, Virginia, in 1830. This pair of slaves, who were lovers, were condemned to be hanged for murdering their master. Extenuating circumstances caused the local white citizens of New Kent to submit a petition to the governor asking that punishment for the pair be reduced to "transportation."
One black witness whose testimony was solicited declared that
the deceased to whom Peggy belonged had had a disagreement with Peggy, and generally kept her confined by keeping her chained to a block and locked up in his meat house; that he [the witness] believed the reason why the deceased had treated Peggy in this way was because Peggy would not consent to intercourse with him, and that he had heard the deceased say that if Peggy did not agree to his request in that way, he would beat her almost to death, that he would barely leave the life in her, and would send her to New Orleans. The witness said that Peggy said the reason she would not yield to his request was because the deceased was her father, and she could not do a thing of that sort with her father. The witness heard the deceased say to Peggy that if she did not consent, he would make him, the witness, and Patrick hold her, to enable him to effect his object.
Since it was the slaveholdirig class that created the language and wrote the laws pertaining to slavery, it is not surprising that legally the concept of raping a slave simply did not exist. One cannot rape one's own property. The rape of one man's slave by another white man was considered a mere "trespass" in the eyes of plantation law. The rape of one man's slave by another slave had no official recognition in law at all.*
(* Some evidence exists that masters attempted to police, in their own fashion, the more blatant abuses that male slaves committed against females. An 1828 advertisement in the Elkton, Maryland, Press for runaway "Negro George Anderson, about 21 or 22 years of age," declared informatively, "A few days before he absconded he attempted to commit a rape upon a young female of his own color, the punishment for which has caused his running off.")
Moral objections to the "liberties" that the slaveholder and his overseer took as a matter of course were voiced within the oddly angled framework of miscegenation, amalgamation, mixture of the races, licentiousness, degradation and lust. Typically for the power class, the slave's coerced participation in the act was turned on her. Her passive submission—the rule of survival in slavery—was styled as concubinage, prostitution or promiscuity when it was alluded to at all. Even the Northern abolitionists shied away from defining coercive sexual abuse under slavery as criminal rape, preferring to speak emotionally, but guardedly, of illicit passion and lust. Modern historians tend to operate under the same set of blinders.
The patriarchal institution of marriage dovetailed with the patriarchal institution of slavery to prevent perception, by even the most enlightened observers, of a concept of sexual rights and bodily integrity for the female slave. In the nineteenth century, a married woman was considered by law to be the property of her husband, and any abuse to her person was considered, by law, to be an abuse to his property. If the woman was not married, the abuse was to her father's property. But slaves were not permitted to marry legally, and criminal sexual abuse of a female slave (a rape) could not be considered by law an affront to her slave "husband" or slave father, who had no rights of their own. The examples we find in abolitionist literature that express concern over the sexual abuse of female slaves are frequently couched in terms of sympathy for the abused women's husbands! As a Maryland lawyer observed at the time, "Slaves are bound by our criminal laws generally, yet we do not consider them as the objects of such laws as relate to the commerce between the sexes. A slave has never maintained an action against the violator of his bed." Of his bed.
Statutory prohibitions against interracial sex, or more accurately, against the act of sex between slaveholder and slave, were on the books of all the slave states from the time they were colonies of the king. Even in South Carolina, where the slave-trading city of Charleston earned a dubious reputation as the libertine capital of North America (a reputation later claimed by New Orleans), and where "interracial liaisons were less carefully concealed than else- where on the continent/' a grand jury in 1743 took notice of "the too common practice of criminal conversation with Negro and other slave wenches in this province," and scored this conversation—or intercourse—as "an Enormity and Evil of general Ill-Consequence."
But it was "pollution of the white race" and not concern for the rights of slaves that lay behind such pronunciamentos. The laws against "admixture" that white men wrote were not applied to white men. They were applied by white men against white women —as several divorce suits and bastardy charges of the time showed—and they were applied with a special vengeance against those black men who entered into liaisons with white women. (The implications and consequences of this sex-race quadruple standard are still with us. See Chapter 7, "A Question of Race.")
A Louisiana Supreme Court decision of 1851 after some backing and filling proceeded to define concubinage as a "mutual" liaison, although one participant was a slaveholder and the other a female slave bound to him by law and force.
The slave is undoubtedly subject to the power of his master; but that means a lawful power, such as is consistent with good morals. The laws do not subject the female slave to an involuntary and illicit connexion with her master, but would protect her against that misfortune. It is true, that the female slave is peculiarly exposed . . . to the seductions of an unprincipled master. That is a misfortune; but it is so rare in the case of concubinage that the seduction and temptation are not mutual, that exceptions to the general rule cannot be founded upon it.
It is difficult to gain a clear understanding of concubinage as it was practiced in the slave South. I do not mean to argue the point that all sexual liaisons between white masters and black slaves fall within my extended definition of rape, although such an argument is tempting. For many black women, concubinage was the best bargain that could be struck, a more or less graceful accommodation given the hopeless condition of bondage; certainly for some it was as close to emancipation as possible, short of a run for freedom with Harriet Tubman. But first, last and always, concubinage was a male-imposed condition: a bargain struck on male values exclusively, resting on a foundation of total ownership and control. Accommodation in lieu of forcible seizure could bring a variety of amenities into one's life: relative status, pretty dresses, gold earrings, and the hope—always the hope—of manumission for one's self and children. This last must have been held out to the black concubine like a carrot on a stick. Several slaveholder wills survive in which freedom for a favored slave and her children is provided, along with bequests of money and real property. Sadly, but not surprisingly, the terms of these wills were often successfully challenged in the courts by the slaveholder's lawful heirs.
Sexual exploitation of black women by white men was understood as one of the evils of slavery by the abolitionist movement, even though abolitionists were unable to bring themselves to call it rape. Specific cases of concubinage and "amalgamation" reported by travelers through the South were incorporated, with appropriate moral outrage, into American Slavery As It Is: Testimony of a Thousand Witnesses, compiled and collated by the Grimké sisters and Theodore Weld, Angelina Grimké's husband, in 1839. The Grimké testimony, and that of Margaret Douglass, formed the backbone of an i860 antislavery pamphlet edited by Lydia Maria Child. The abolitionist women, in dealing with the sexual behavior of men, were treading on dangerous ground, bound by conventions that decreed that a man's private life was beyond the pale of political scrutiny. "We forbear to lift the veil of private life any higher," wrote Angelina Grimké, whose brother had sired mulatto slave children. "Let these few hints suffice to give you some idea of what is daily passing behind that curtain which has been so carefully drawn before the scenes of domestic life in slaveholding America."
The "few hints" of which Angelina Grimké wrote and spoke were scandalous enough for the times. "The character of the white ladies of the South, as well as the ladies of color, seems to have been discussed, and the editor of the Courier was of the opinion that the reputation of his paper, and the morals of its readers, might be injuriously affected by publishing the debate," a Northern newspaper reported after a Grimké speech—neatly turning the crime of men into a matter of the "character" of women, in the age-old tradition.
In the winter of 1838-1839, while Weld and the Grimkés were compiling their documentary record of slavery in New York, the English actress Fanny Kemble was in residence on a Georgia island plantation, recording her shocked observations in a journal that remained suppressed for twenty-five years. The celebrated and strong-minded Miss Kemble had inadvisedly married a young Philadelphian, Pierce Butler, who inherited a pair of cotton and rice plantations employing more than one thousand slaves. The marriage went badly, but it proved invaluable to history, for Fanny Kemble traveled with her husband to Georgia and wrote down what she saw in the form of letters to a friend.
As Fanny Kemble made the acquaintance of slaves on her husband's plantation, it dawned on her that the complexion of some of them was decidedly light, and for a very specific reason— the plantation's overseer, John King. She described the slave woman Betty:
Of this woman's life on the plantation I subsequently learned the following circumstances. She was the wife of head man Frank . . . the head driver—second in command to the overseer. His wife [Betty]—a tidy, trim intelligent woman with a pretty figure . . . was taken from him by the overseer . . . and she had a son by him whose straight features and diluted color . . . bear witness to his Yankee descent. I do not know how long Mr. King's occupation of Frank's wife continued, or how the latter endured the wrong done to him [italics mine]. This outrage upon this man's rights [italics mine] was perfectly notorious among all the slaves; and his hopeful offspring, Renty, alludfed] to his superior birth on one occasion.
Betty was not the only slave on the Butler plantation whom the white overseer, King, forced into sexual service, Fanny Kemble discovered.
Before reaching the house I was stopped by one of our multitudinous Jennies with a request for some meat, and that I would help her with some clothes for Ben and Daphne, of whom she had the sole charge; these are two extremely pretty and interesting looking mulatto children, whose resemblance to Mr. King had induced me to ask Mr. Butler, when I first saw them, if he did not think they must be his children. He said they were certainly like him, but Mr. King did not acknowledge the relationship. I asked Jenny who their mother was. "Minda." "Who their father?" "Mr. King." . . . "Who told you so?" "Minda, who ought to know." "Mr. King denies it." "That's because he never has looked upon them, nor done a thing for them." "Well, but he acknowledged Renty as his son, why should he deny these?" "Because old master was here then when Renty was born, and he made Betty tell all about it, and Mr. King had to own it; but nobody knows anything about this, and so he denies it."
The Butler plantation operated under absentee ownership for most of the year and the white overseer, King, was left in charge as a virtual dictator. The power of his station, and its sexual privi- leges, extended to those directly below him in the chain of command, the black drivers, who themselves were slaves. Owners, overseers, drivers, neighboring white men—all could force the black woman against her will, and she was held morally responsible for the injury done to her. Fanny Kemble herself started from this premise, but rejected it in time.
Quizzing more of her husband's slaves about the paternity of their offspring and hearing the names King and Walker (a white mill hand) and Morris (a black driver) repeated by many of them, she recorded:
Almost beyond my patience with this string of detestable details, I exclaimed—foolishly enough, heaven knows— "Ah! but don't you know—did nobody ever tell or teach any of you that it is a sin to live with men who are not your husbands?" Alas, Elizabeth, what could the poor creature answer but what she did, seizing me at the same time vehemently by the wrist: "Oh yes, missis, we know—we know all about dat well enough; but we do anything to get our poor flesh some rest from de whip; when he made me follow him into de bush, what use me tell him no? He have strength to make me." I have written down the woman's words; I wish I could write down the voice and look of abject misery with which they were spoken. Now you will observe that the story was not told to me as a complaint; it was a thing long past and over, of which she only spoke in the natural course of accounting for her children to me. I makeno comment; what need, or can I add, to such stories? But how is such a state of things to endure? and again, how is it to end?
Kemble privately circulated a handwritten copy of her journal among her friends and it quickly gained an underground reputation as the most explosive insider's antislavery testament. Lydia Maria Child urged her to publish portions of it, at least, as ammunition for the abolitionist cause but Pierce Butler flatly refused permission. As a slaveholder he thought the journal was unseemly, which it was. As a husband he could withhold consent, by law, to any publication of his wife's, which he did. The journal, Kemble's antislavery views, and her equally daring belief in equality in marriage, figured prominently in Butler's eventual suit for divorce. Butler won custody of their two children and the visitation-rights agreement stipulated that Kemble must do nothing to embarrass him. In 1863, earning her own living again on the English stage,
Fanny Kemble finally published her Georgia journal. By that time the War Between the States was well under way and Harriet Beecher Stowe's novel, based in part on the Weld-Grimke pamphlet, had stolen much of her thunder.
The appointed roles of concubine and breeder woman forcibly progressed to outright prostitution in the last decades of slavery. Traders dispensed with pretense and openly sold their prettiest and "near-white" female chattel for sexual use on the New Orleans market. The cavalier term was "fancy girl." The place was the French Exchange in the grand rotunda of the St. Louis Hotel, and the favored hour was noon. This gaudy fillip to the slave trade was no more than a logical extension of institutional rape, the final indignity.
"Every slaveholder is the legalized keeper of a house of ill-fame," the ex-slave and orator Frederick Douglass thundered to an abolitionist meeting in Rochester, New York, in 1850. Douglass' understanding of the dynamics of slavery far surpassed that of any other single person. That night in Rochester he instructed his audience in the dynamics of sexual oppression.
I hold myself ready to prove that more than a million of women, in the Southern States of this Union, are, by laws of the land, and through no fault of their own, consigned to a life of revolting prostitution; that, by those laws, in many of the States, if a woman, in defence of her own innocence, shall lift her hand against the brutal aggressor, she may be lawfully put to death. I hold myself ready to prove, by the laws of slave states, that three million of the people of those States are utterly incapacitated to form marriage contracts. I am also prepared to prove that slave breeding is relied upon by Virginia as one of her chief sources of wealth. It has long been known that the best blood of Virginia may now be found in the slave markets of New Orleans. It is also known that slave women, who are nearly white, are sold in those markets, at prices which proclaim, trumpet-tongued, the accursed purposes to which they are to be devoted. Youth and elegance, beauty and innocence, are exposed for sale upon the auction block; while villainous monsters stand around, with pockets lined with gold, gazing with lustful eyes upon their prospective victims.
New Orleans was "fully tenfold the largest market for 'fancy girls,'" Frederic Bancroft wrote in his unmatched study, Slave Trading in the Old South. " The prospect of great profit induced their conspicuous display." Beautiful New Orleans! Ambitious slavers chained their prettiest catches to the coffle and headed for the balmy Gulf port. Racing season and Mardi Gras were especially remunerative times. The Hotel St. Louis on Chartres Street was a beehive of activity. Bilingual auctioneers tickled the libido of the sporting men in simultaneous French and English, for a 2 percent
commission. The slave women stood near the auctioneer's hammer and smiled, bedecked in bonnets and ribbons. Sales of two thousand dollars and up were not unusual. Private rooms off the main rotunda of the Exchange were always available for the gentleman who wished to inspect his prospective purchase. Inspection at the French Exchange was a serious matter. "To gamblers, traders, saloonkeepers, turfmen and debauchees, owning a 'fancy girl' was a luxurious ideal."
The master-slave relationship is the most popular fantasy perversion in the literature of pornography. The image of a scantily clothed slave girl, always nubile, always beautiful, always docile, who sinks to her knees gracefully and dutifully before her master, who stands with or without boots, with or without whip, is commonly accepted as a scene of titillating sexuality. From the slave harems of the Oriental potentate, celebrated in poetry and dance, to the breathless descriptions of light-skinned fancy women, de rigueur in a particular genre of pulp historical fiction, the glorification of forced sex under slavery, institutional rape, has been a part of our cultural heritage, feeding the egos of men while subverting the egos of women—and doing irreparable damage to healthy sexuality in the process. The very words "slave girl" impart to many a vision of voluptuous sensuality redolent of perfumed gardens and soft music strummed on a lyre. Such is the legacy of male-controlled sexuality, under which we struggle.
ADDENDUM: THE CLIOMETRICIANS
By running two sets of statistics into a computer and by making a few unsupported, outlandish statements, "cliometricians" Robert Fogel and Stanley Engerman argue in Time on the Cross, their statistical view of slave history, that the sexual abuse of black women by white men was not a common occurrence. Dismissing all known reports collected by the abolitionists, they write:
Even if all these reports were true, they constituted at most a few hundred cases. By themselves, such a small number of observations out of a population of millions could just as easily be used as proof of the infrequency of the sexual exploitation of black women as of its frequency. The real question is whether such cases were common events that were rarely reported, or whether they were rare events that were frequently reported.
This is a "real question" only for someone who does not want to accept how infrequently cases of sexual assault are reported even in this day and age, let alone in the time when Angelina Grimke wrote, "We forbear to lift the veil of private life any higher."
Fogel and Engerman heap scorn on Fanny Kemble for having a distorted vision of slavery based on her "upper-class English" bias. In fact, Kemble's origins were not upper class. She was the daughter of a family of celebrated but impecunious actors who relied on her income—hence her gamble on a marriage to Pierce Butler. Ignoring the reasons why her Journal remained suppressed for twenty-five years, they try to slough it off as "a polemic aimed at rallying British support to the northern cause." It is not a polemic, as the dictionary defines the word, nor was it aimed at the British at the time of its inception. These errors of fact and interpretation could have been cleared up if Fogel and Engerman had read the Journal in its entirety, had read the Butler divorce papers, or had read one of the several biographies of Kemble.
Claiming they deal in facts, not conjecture, the authors, by presenting the results of two tangential computer runs, argue that white men did not as a rule molest black women, coyly adding that in their opinion interracial exploitation "would undermine the air of mystery and distinction on which so much of the authority of large planters rested." The first standard they employ is an analysis of the number of mulattoes reported in the i860 census. Thirty-nine percent of the freedmen in Southern cities were reported as mulatto that year. Among urban slaves the proportion was 20 percent and among rural slaves, who constituted 95 percent of the slave population, the percentage of reported mulattoes was 9.9. Since the overwhelming majority of slaves lived in rural areas, the authors required no sleight of hand to arrive at a figure of 10.4 percent for the census proportion of mulattoes in the entire Southern slave population. From this they conclude, "Far from proving that the exploitation of black women was ubiquitous, the available data on mulattoes strongly militates against that contention."
Several things are wrong here. The progeny of an interracial union can "come up dark" or "come up light," so in itself the color of the offspring is no sure-fire test. Secondly, how were these i860 census reports obtained? In their supplemental methodology volume Fogel and Engerman tell us that the census was taken by "thousands of enumerators" who were "drawn from the category of literate middle- and upper-class whites," and who used the criterion of skin color. We may assume that the freedmen reported their heritage to the enumerators in person, but do the authors suggest that the slaves did the same, or that the industrious enumerators entered the grounds of each and every plantation and counted heads and judged color from shack to shack?
It is reasonable to assume that the owners did all the reporting for their slaves, particularly in the rural areas, and it is reasonable to assume that plantation owners would be most reluctant to admit to the government that they were siring mulatto children, especially since miscegenation was technically against the law. Plantation owners, I am certain, saw what they wanted to see, and reported what they wanted to report to their class allies, those middle- and upper-class white enumerators. Any census statistic on the proportion of mulattoes on a plantation would be a most unreliable figure. In addition, why do Fogel and Engerman assume that a rape, even in a "non-contraceptive society," as they put it, is necessarily going to result in pregnancy and birth? Periods of fertility being what they are, a rapist plays Russian roulette with more than twenty chambers, yet the authors would have us believe he impregnates every time.
This fallacy in thinking also affects the import of their second set of computed facts. From a limited number of plantation records, the authors of Time on the Cross draw up a distribution chart indicating the age of slave mothers at the time they gave birth to their first child. (Unfortunately the cliometricians do not tell us how large a sample was available to them.) Thirty-six percent of all first births took place between the ages of fifteen and nineteen, and an additional 4 percent took place among girls below the age of fifteen. "Some readers might be inclined to stress that 40 percent of all first births took place before the mothers were 20," the authors generously admit—in the fine print of their methodology volume. In their major volume they write only that "the average age at first birth was 22.5, the median age was 20.8."
The median age is the more significant of these two figures, since it shows that there were as many first births below the age of 20.8 as there were above. The average age in the Fogel-Engerman computation is beefed up by each first birth that planter records claim occurred at age thirty-five and over; it does not mean that "most" slave women gave birth to their first child at twenty-two.
From this limited presentation Fogel and Engerman extrapolate, "Only abstinence would explain the relative shortage of births in the late-teen ages," and "the high fertility rate of slave women was not the consequence of the wanton impregnation of very young unmarried women by either white or black men." They hopefully conclude, "The high average age of mothers at first birth also suggests that slave parents closely guarded their daughters from sexual contact with men."
Leaving aside the entire question of the accuracy of slave ages, which does not seem to bother the authors, or the incidence of spontaneous miscarriage and folk-remedy abortions for the very young (information certainly not available), what is most troubling about these first-birth statistics is that nowhere are they matched up against the average age of menarche, the time of the first menstrual period. As it happens, the age at which menstruation begins has been perceptibly declining. In 1960 it fell between twelve and thirteen; however, in 1860 first menstruation usually occurred between the ages of sixteen and seventeen. Not only that, there is evidence in modern medicine and anthropology that fertility in the first few years after the onset of menstruation is comparatively low.
Fogel and Engerman's statistics tell us nothing about the sexual exploitation of black women in slavery. Statistical analysis is a valuable tool when it deals with reported crime. Unreported crime, however, remains beyond the magic of computers.
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disruptiveempathy · 1 month ago
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During the initial phase, in which invading Europeans first confronted Aborigines defending their territory, Aboriginal resistance was subverted as a result of the combined effects of four related factors: homicide, introduced disease, starvation, and sexual abuse. The scenario is, of course, broadly familiar in the U.S. context. There is, however, a major difference. In the United States, depictions of black sexuality dominated miscegenation discourse to an extent that led Winthrop Jordan to claim, albeit with some exaggeration, that 'the entire interracial sexual complex did not pertain to the Indian.' In Australia, on the other hand, which lacked a comparably 'third race,' miscegenation discourse came to focus primarily on indigenous people, whose blackness became correspondingly salient. Aborigines who survived the disaster of the first phase found themselves reduced to improvising whatever livelihoods they could in the pores of the alien new society, which generally found them repugnant. Measures were introduced to confine the surviving Aboriginal 'remnant' to fixed locations, either by the lure of rations or by coercive measures. This constitutes the second, carceral phase of settler-colonial policy toward Aborigines. In keeping with Social Darwinist premises, as corroborated by Aborigines' manifest decimation, their confinement on missions and reserves was seen as a temporary measure, since they were believed to be a dying race. Although framed in philanthropic rhetoric (as in missionaries 'smoothing the dying pillow'), this phase maintained the logic of elimination in that it vacated Aboriginal territory and rendered it available for pastoral settlement. Mission boundaries were not enough, however, to prevent the sexual encounters, conducted under conditions of radical inequality, that characterized relations between white men and Aboriginal women. These encounters produced offspring who, growing up as they almost invariably did with their maternal kin, identified themselves as Aboriginal. Moreover, far from dying out, this section of the Aboriginal population threatened to expand exponentially. As the nineteenth century moved to its close, the romance of extinction progressively gave way to the specter of the 'half-caste menace.' Aboriginal people became racialized—in the full genetic sense involved in blood quantum legislation—during the years surrounding national independence, in 1901. These developments coincided with the end of the frontier, an uneven process that marked the final internalization of the 'Aboriginal problem.' They also coincided with the introduction of the so-called White Australia Policy. Seeking to build a white man's paradise in the South Pacific, and encouraged by trade unions keen to eliminate cut-price labor, the newly federated national government in 1903 introduced legislation that curtailed non-European immigration and targeted non-white residents for deportation. Since no external homeland could be plausibly assigned to Aborigines, the remedy for the challenge that they posed to white Australia was not projection without but absorption within. From around the turn of the twentieth century, a range of measures were introduced that were designed to detach individuals from Aboriginal communities, stripping them of their Aboriginal identities and incorporating them into white society. Thus the assimilation police was a symptom of Aborigines' containment within Australian society, constituting an internal correlate to the White Australia Policy.
—Patrick Wolfe, from "Land, Labor, and Difference: Elementary Structures of Race," published in The American Historical Review
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kayla1993-world · 2 years ago
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Trump will be one of the main speakers at the annual NRA-ILA Leadership Forum on Friday at the Indiana Convention Center in Indianapolis. Trump's appearance could be a test to see if he still has GOP voters' public support despite his legal difficulties, with the NRA and its members long thought to be a highly influential group for the Republican Party. On April 4, Trump became the first U.S. president to be charged with a crime in connection with Manhattan District Attorney Alvin Bragg's hush money investigation. Trump pleaded not guilty to 34 felony counts of falsifying business records in relation to hush money he allegedly arranged with his attorney Michael Cohen. He paid adult film star Stormy Daniels to keep an alleged affair secret prior to the 2016 election. Trump is accused of falsifying business records while reimbursing Cohen for the $130,000 he paid Daniels. This amount was listed in Trump Organization records as legal fees. Prosecutors allege Cohen's money was a violation of federal election laws. Trump has denied wrongdoing, and denied an affair with Daniels in 2006. While Trump gave a speech at his Mar-a-Lago resort in Florida hours after his arraignment in New York, Friday's appearance at the NRA-ILA Leadership Forum will be the first not dedicated solely to the former president, or held at his own home. As well as Trump, other top Republican figures who will speak at the forum include former Vice President Mike Pence, Indiana Governor Eric Holcomb and Ohio Representative Jim Jordan. Former South Carolina Governor Nikki Haley and entrepreneur Vivek Ramaswamy, both of whom have joined Trump in the race to become the GOP presidential candidate for the 2024 election, are also scheduled to speak to NRA members at the event. Florida Governor Ron DeSantis, who is expected to confirm his 2024 ambitions and is considered the biggest challenge to Trump, will speak at the NRA-ILA Leadership Forum via videolink. Several polls suggest that Trump's legal issues aren't hindering his 2024 chances. According to a Reuters/Ipsos poll released on the eve of his arrest, 48 percent of Republican voters said they wanted Trump to be their party's presidential nominee in 2024. This is up 4 points from the 44 percent he received in a March 14-20 poll before his indictment broke. A Winthrop Poll released April 12 shows Trump's 2024 bid has strong support in South Carolina. He beat Haley in her home state by double digits. The survey found that Trump has the backing of 41 percent of registered Republican voters to be the next presidential candidate. Second is DeSantis at 20 percent, and Haley third at 18 percent.
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yngsuk · 2 years ago
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In Kathleen Brown’s reinterpretation of [Winthrop] Jordan’s early modern sources, she notes that divisions of household labor between the sexes, manners and customs, and mores were as, if not more, central to West Africans’ function as foils to the emergent concept of Europeanness as skin color and hair texture. Despite what one might expect from reading Jordan’s conclusions, skin color was not the essence of racial difference in the pre-1650 sources: writers of the period devoted considerable space to descriptions of indigenous peoples’ adornments of their bodies, “the consequences of which were no less startling to English observers than differences which allegedly originated in nature”. The common criteria for bestial otherness were measures of degrees of civility in Iberian and English sources rather than complexion. One of the most common refrains in early European accounts of people living near the so-called torrid zones was “the people goeth all naked”. The appearance of allegedly naked bodies had contradictory evocations: on the one hand, nakedness conjured images of the garden of Eden and a prelapsarian state of mind, arrested development, and innocence; on the other hand, “Nudity also communicated sexual promiscuity and the absence of civility to Europeans, which they sometimes described as ‘beastly’ living”. Rather than simply, or decisively, a matter of color, projected sexual mores and virility were crucial determinants for measuring the being of Africans.
Zakiyyah Iman Jackson, Becoming Human: Matter and Meaning in an Antiblack World
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principleofplenitude · 2 years ago
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yasbxxgie · 5 years ago
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In 1619, “20. and odd Negroes” arrived off the coast of Virginia, where they were “bought for victualle” by labor-hungry English colonists. The story of these captive Africans has set the stage for countless scholars and teachers interested in telling the story of slavery in English North America. Unfortunately, 1619 is not the best place to begin a meaningful inquiry into the history of African peoples in America. Certainly, there is a story to be told that begins in 1619, but it is neither well-suited to help us understand slavery as an institution nor to help us better grasp the complicated place of African peoples in the early modern Atlantic world. For too long, the focus on 1619 has led the general public and scholars alike to ignore more important issues and, worse, to silently accept unquestioned assumptions that continue to impact us in remarkably consequential ways. As a historical signifier, 1619 may be more insidious than instructive.
The overstated significance of 1619—still a common fixture in American history curriculum—begins with the questions most of us reflexively ask when we consider the first documented arrival of a handful of people from Africa in a place that would one day become the United States of America. First, what was the status of the newly arrived African men and women? Were they slaves? Servants? Something else? And, second, as Winthrop Jordan wondered in the preface to his 1968 classic, White Over Black, what did the white inhabitants of Virginia think when these dark-skinned people were rowed ashore and traded for provisions? Were they shocked? Were they frightened? Did they notice these people were black? If so, did they care?
In truth, these questions fail to approach the subject of Africans in America in a historically responsible way. None of these queries conceive of the newly-arrived Africans as actors in their own right. These questions also assume that the arrival of these people was an exceptional historical moment, and they reflect the worries and concerns of the world we inhabit rather than shedding useful light on the unique challenges of life in the early seventeenth century.
There are important historical correctives to the misplaced marker of 1619 that can help us ask better questions about the past. Most obviously, 1619 was not the first time Africans could be found in an English Atlantic colony, and it certainly wasn’t the first time people of African descent made their mark and imposed their will on the land that would someday be part of the United States. As early as May 1616, blacks from the West Indies were already at work in Bermuda providing expert knowledge about the cultivation of tobacco. There is also suggestive evidence that scores of Africans plundered from the Spanish were aboard a fleet under the command of Sir Francis Drake when he arrived at Roanoke Island in 1586. In 1526, enslaved Africans were part of a Spanish expedition to establish an outpost on the North American coast in present-day South Carolina. Those Africans launched a rebellion in November of that year and effectively destroyed the Spanish settlers’ ability to sustain the settlement, which they abandoned a year later. Nearly 100 years before Jamestown, African actors enabled American colonies to survive, and they were equally able to destroy European colonial ventures.
These stories highlight additional problems with exaggerating the importance of 1619. Privileging that date and the Chesapeake region effectively erases the memory of many more African peoples than it memorializes. The “from-this-point-forward” and “in-this-place” narrative arc silences the memory of the more than 500,000 African men, women, and children who had already crossed the Atlantic against their will, aided and abetted Europeans in their endeavors, provided expertise and guidance in a range of enterprises, suffered, died, and – most importantly – endured. That Sir John Hawkins was behind four slave-trading expeditions during the 1560s suggests the degree to which England may have been more invested in African slavery than we typically recall. Tens of thousands of English men and women had meaningful contact with African peoples throughout the Atlantic world before Jamestown. In this light, the events of 1619 were a bit more yawn-inducing than we typically allow.
Telling the story of 1619 as an “English” story also ignores the entirely transnational nature of the early modern Atlantic world and the way competing European powers collectively facilitated racial slavery even as they disagreed about and fought over almost everything else. From the early 1500s forward, the Portuguese, Spanish, English, French, Dutch and others fought to control the resources of the emerging transatlantic world and worked together to facilitate the dislocation of the indigenous peoples of Africa and the Americas. As historian John Thornton has shown us, the African men and women who appeared almost as if by chance in Virginia in 1619 were there because of a chain of events involving Portugal, Spain, the Netherlands and England. Virginia was part of the story, but it was a blip on the radar screen.
These concerns about making too much of 1619 are likely familiar to some readers. But they may not even be the biggest problem with overemphasizing this one very specific moment in time. The worst aspect of overemphasizing 1619 may be the way it has shaped the black experience of living in America since that time. As we near the 400th anniversary of 1619 and new works appear that are timed to remember the “firstness” of the arrival of a few African men and women in Virginia, it is important to remember that historical framing shapes historical meaning. How we choose to characterize the past has important consequences for how we think about today and what we can imagine for tomorrow.
In that light, the most poisonous consequence of raising the curtain with 1619 is that it casually normalizes white Christian Europeans as historical constants and makes African actors little more than dependent variables in the effort to understand what it means to be American. Elevating 1619 has the unintended consequence of cementing in our minds that those very same Europeans who lived quite precipitously and very much on death’s doorstep on the wisp of America were, in fact, already home. But, of course, they were not. Europeans were the outsiders. Selective memory has conditioned us to employ terms like settlers and colonists when we would be better served by thinking of the English as invaders or occupiers. In 1619, Virginia was still Tsenacommacah, Europeans were the non-native species, and the English were the illegal aliens. Uncertainty was still very much the order of the day.
When we make the mistake of fixing this place in time as inherently or inevitably English, we prepare the ground for the assumption that the United States already existed in embryonic fashion. When we allow that idea to go unchallenged, we silently condone the notion that this place is, and always has been, white, Christian, and European.
Where does that leave Africans and people of African descent? Unfortunately, the same insidious logic of 1619 that reinforces the illusion of white permanence necessitates that blacks can only be, ipso facto, abnormal, impermanent, and only tolerable to the degree that they adapt themselves to someone else’s fictional universe. Remembering 1619 may be a way of accessing the memory and dignifying the early presence of black people in the place that would become the United States, but it also imprints in our minds, our national narratives, and our history books that blacks are not from these parts. When we elevate the events of 1619, we establish the conditions for people of African descent to remain, forever, strangers in a strange land.
It doesn’t have to be this way. We shouldn’t ignore that something worth remembering happened in 1619. There are certainly stories worth telling and lives worth remembering, but history is also an exercise in crafting narratives that give voice to the past in order to engage with the present. The year 1619 might seem long ago for people more attuned to the politics of life in the 21st century. But if we can do a better job of situating the foundational story of black history and the history of slavery in North America in its proper context, then perhaps we can articulate an American history that doesn’t essentialize notions of “us” and “them” (in the broadest possible and various understandings of those words). That would be a pretty good first step, and it would make it much easier to sink our teeth into the rich and varied issues that continue to roil the world today.
This story was originally published on Black Perspectives, an online platform for public scholarship on global black thought, history and culture.
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Portrait of Mme. Augustin Jordan and Her Son Gabriel, Jean-Auguste-Dominique Ingres, 1817, Harvard Art Museums: Drawings
Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop Size: 44.3 x 32.6 cm (17 7/16 x 12 13/16 in.) frame: 70.1 x 55.7 cm (27 5/8 x 21 15/16 in.) Medium: Graphite on white wove paper
https://www.harvardartmuseums.org/collections/object/297941
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algebraicvarietyshow · 4 years ago
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The National Garden should be composed of statues, including statues of Ansel Adams, John Adams, Samuel Adams, Muhammad Ali, Luis Walter Alvarez, Susan B. Anthony, Hannah Arendt, Louis Armstrong, Neil Armstrong, Crispus Attucks, John James Audubon, Lauren Bacall, Clara Barton, Todd Beamer, Alexander Graham Bell, Roy Benavidez, Ingrid Bergman, Irving Berlin, Humphrey Bogart, Daniel Boone, Norman Borlaug, William Bradford, Herb Brooks, Kobe Bryant, William F. Buckley, Jr., Sitting Bull, Frank Capra, Andrew Carnegie, Charles Carroll, John Carroll, George Washington Carver, Johnny Cash, Joshua Chamberlain, Whittaker Chambers, Johnny “Appleseed” Chapman, Ray Charles, Julia Child, Gordon Chung-Hoon, William Clark, Henry Clay, Samuel Clemens (Mark Twain), Roberto Clemente, Grover Cleveland, Red Cloud, William F. “Buffalo Bill” Cody, Nat King Cole, Samuel Colt, Christopher Columbus, Calvin Coolidge, James Fenimore Cooper, Davy Crockett, Benjamin O. Davis, Jr., Miles Davis, Dorothy Day, Joseph H. De Castro, Emily Dickinson, Walt Disney, William “Wild Bill” Donovan, Jimmy Doolittle, Desmond Doss, Frederick Douglass, Herbert Henry Dow, Katharine Drexel, Peter Drucker, Amelia Earhart, Thomas Edison, Jonathan Edwards, Albert Einstein, Dwight D. Eisenhower, Duke Ellington, Ralph Waldo Emerson, Medgar Evers, David Farragut, the Marquis de La Fayette, Mary Fields, Henry Ford, George Fox, Aretha Franklin, Benjamin Franklin, Milton Friedman, Robert Frost, Gabby Gabreski, Bernardo de Gálvez, Lou Gehrig, Theodor Seuss Geisel, Cass Gilbert, Ruth Bader Ginsburg, John Glenn, Barry Goldwater, Samuel Gompers, Alexander Goode, Carl Gorman, Billy Graham, Ulysses S. Grant, Nellie Gray, Nathanael Greene, Woody Guthrie, Nathan Hale, William Frederick “Bull” Halsey, Jr., Alexander Hamilton, Ira Hayes, Hans Christian Heg, Ernest Hemingway, Patrick Henry, Charlton Heston, Alfred Hitchcock, Billie Holiday, Bob Hope, Johns Hopkins, Grace Hopper, Sam Houston, Whitney Houston, Julia Ward Howe, Edwin Hubble, Daniel Inouye, Andrew Jackson, Robert H. Jackson, Mary Jackson, John Jay, Thomas Jefferson, Steve Jobs, Katherine Johnson, Barbara Jordan, Chief Joseph, Elia Kazan, Helen Keller, John F. Kennedy, Francis Scott Key, Coretta Scott King, Martin Luther King, Jr., Russell Kirk, Jeane Kirkpatrick, Henry Knox, Tadeusz Kościuszko, Harper Lee, Pierre Charles L’Enfant, Meriwether Lewis, Abraham Lincoln, Vince Lombardi, Henry Wadsworth Longfellow, Clare Boothe Luce, Douglas MacArthur, Dolley Madison, James Madison, George Marshall, Thurgood Marshall, William Mayo, Christa McAuliffe, William McKinley, Louise McManus, Herman Melville, Thomas Merton, George P. Mitchell, Maria Mitchell, William “Billy” Mitchell, Samuel Morse, Lucretia Mott, John Muir, Audie Murphy, Edward Murrow, John Neumann, Annie Oakley, Jesse Owens, Rosa Parks, George S. Patton, Jr., Charles Willson Peale, William Penn, Oliver Hazard Perry, John J. Pershing, Edgar Allan Poe, Clark Poling, John Russell Pope, Elvis Presley, Jeannette Rankin, Ronald Reagan, Walter Reed, William Rehnquist, Paul Revere, Henry Hobson Richardson, Hyman Rickover, Sally Ride, Matthew Ridgway, Jackie Robinson, Norman Rockwell, Caesar Rodney, Eleanor Roosevelt, Franklin D. Roosevelt, Theodore Roosevelt, Betsy Ross, Babe Ruth, Sacagawea, Jonas Salk, John Singer Sargent, Antonin Scalia, Norman Schwarzkopf, Junípero Serra, Elizabeth Ann Seton, Robert Gould Shaw, Fulton Sheen, Alan Shepard, Frank Sinatra, Margaret Chase Smith, Bessie Smith, Elizabeth Cady Stanton, Jimmy Stewart, Harriet Beecher Stowe, Gilbert Stuart, Anne Sullivan, William Howard Taft, Maria Tallchief, Maxwell Taylor, Tecumseh, Kateri Tekakwitha, Shirley Temple, Nikola Tesla, Jefferson Thomas, Henry David Thoreau, Jim Thorpe, Augustus Tolton, Alex Trebek, Harry S. Truman, Sojourner Truth, Harriet Tubman, Dorothy Vaughan, C. T. Vivian, John von Neumann, Thomas Ustick Walter, Sam Walton, Booker T. Washington, George Washington, John Washington, John Wayne, Ida B. Wells-Barnett, Phillis Wheatley, Walt Whitman, Laura Ingalls Wilder, Roger Williams, John Winthrop, Frank Lloyd Wright, Orville Wright, Wilbur Wright, Alvin C. York, Cy Young, and Lorenzo de Zavala.”
donald trump ki kicsodája az amerikai történelemben
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sporadiceagleheart · 5 months ago
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Here's a tribute to June 10th 2012 birthday and rest in peace Angels Sophie Hélène Béatrix de France, Marie-Thérèse Charlotte de France,Élisabeth Louise Vigée Le Brun,Marie Antoinette with a Rose,Marie Antoinette,Louis XVI,Marie-Thérèse Charlotte,Louis Antoine of France, Duke of AngoulêmeLouis Joseph Xavier François,Louis XVII,Louis XVIII,Charles X,Maria Theresa of Savoy,Sophie d'Artois,Louis, Dauphin of France, Aubreigh Paige Wyatt, Ava Jordan Wood, Leiliana Wright, Star Hobson, Saffie-Rose Brenda Roussos, Lily Peters, Olivia Pratt Korbel, Elizabeth Shelley, Sara Sharif, Charlotte Figi, Jersey Dianne Bridgeman, Macie Hill, Sloan Mattingly, Audrii Cunningham, Athena Strand, Athena Brownfield, Leocadia Zorrilla, Francisco José de Goya y Lucientes, Josefa Bayeu, Francisco Javier Goya Bayeu,Charlotte Eckerman, Adolf Ulrik Wertmüller, La Belle Italienne, Mary Wollstonecraft Shelley, Anne Isabella Noel Byron, Elizabeth Cavendish, Duchess of Devonshire, Lady Elizabeth Finch-Hatton, Queen Elizabeth II, Barbara Shelley, Percy Shelley, Lady Elizabeth Pilfold Shelley, Anne Neville, John Winthrop, Mary Forth Winthrop, Margaret Tyndall Winthrop, Thomasine Winthrop, Elisabeth of Denmark, Anna von Brandenburg, Elisabeth von Brandenburg, Sir John Talbot, Elizabeth Wrottesley Talbot, Richard III, Edward of Middleham, Margaret Plantagenet, Anne Plantagenet Saint Leger, Elizabeth of York Plantagenet de la Pole Duchess of Suffolk, Edmund Plantagenet, Richard of York 3rd Duke of York, Lady Cecily de Neville Plantagenet, Katharine of Aragon, Henry Tudor, Elizabeth I, Isabella de Aragon, Juan de Aragón, Miguel da Paz, Prince of Asturias, Jacklyn Jaylen “Jackie” Cazares, Chief Thunder Cloud, Chief Yellow Thunder, Ernest White Thunder, Wa-Kin-Yan-Waste “Andrew” Good Thunder, Maggie Snana Brass, Catherine Violet Hubbard,
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zmwrites · 4 years ago
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L to R: Violet Colby, Maisy Winthrope, Jordan Caixisys
I was tagged by @writingbyjillian for this OC Picrew Tag Game!
rules: make your main characters with these picrews (x) (x) and tag as many people as picrews you create!
I never like how my male characters turn out on these things, so enjoy my three leading ladies from Indigo Wars! As you can probably see, Jordan is not entirely human, but she is very fun to write.
I tag @stuffaboutwriting, @vellichor-virgo, and @rhikasa! As always, no pressure!
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broken-academia · 4 years ago
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introduction to african-american studies recommendations:
In the Shadow of Slavery by Leslie Harris
Comprehensive look at the history of African-American slaves from 1626-1863. Not too dense, allows a very nuanced view of the cause of slavery, wonderful read. Also focuses on the white New York working class.
Major Problems in African-American History edited by Thomas Holt and Elsa B. Brown
If you buy any book on African-American history, let it be this one. Compilation of the most important articles from historian in the few two centuries, focusing on a wide range of views from Winthrop Jordan to the original Haudlins’ perspective. Also (fabulously) includes primary sources. The only thing I dislike about this book is its lack of comprehensive footnotes.
The Origin’s Debate: Slavery and Racism in 17th Century Virginia by Alden Vaughan
I would only recommend this excerpt from chapter 7 of Vaughan’s book - he can be quite biased. A good guide to the history of academia’s view on slavery. Can be dense but is a useful guide while reading the Major Problems book
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Portrait of Augustin Jordan and his Daughter Adrienne, Jean-Auguste-Dominique Ingres, 1817, Harvard Art Museums: Drawings
Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop Size: 43 x 32.3 cm (16 15/16 x 12 11/16 in.) frame: 70.2 x 55.8 cm (27 5/8 x 21 15/16 in.) Medium: Graphite on white wove paper
https://www.harvardartmuseums.org/collections/object/297940
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padawan-historian · 4 years ago
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Racial violence is historically linked to the preservation of white womanhood. After the CW, white mobs throughout the South targeted black individuals, particularly men, often under the pretense that they had "raped" a white woman. Perceptions surrounding black sexuality claimed that not only were black men hypersexual, but they had a fixation on white women -- the ultimate "symbol" that established white Southern masculinity and dominance. The narrative of the "black male predator" not only worked to dehumanize black men and justify the lynchings, burnings, and castrations of black men, but also to reinforce the social hierarchy of the changing South.
Rural white farmers, free laborers of color, and newly liberated black slaves flocked to city centers seeking employment opportunities. The diversified labor pool presented both an economic and social challenge to white workers. Due to the exploitative nature of many of these industrialized jobs and limited opportunities – not to mention the threat of imprisonment that came with unemployment – many emancipated blacks were willing to work for lower wages and longer hours. In this new environment, one’s social status was less known and less fixed and traditional forms of authority—the patriarchal household, the church, the planter elite—were called into question.
Not only that, but, for the first time, black men had a modicum of power at the ballot box (at least on paper) and could join the workforce as skilled employees. This new order meant the possibility of whites and blacks coexisting and competing on equal footing – a reality that disrupted and dislocated long-held racial systems.
Prior or during lynchings, many black men were further brutalized with castration and dismemberment. This emasculating practice has its roots in slavery when the white patriarchy propagated images of black men as abnormally virile and lusty to the point of violence. However, this condemnation of black men was often accompanied by a peculiar, almost obsessive, fascination with black male bodies – especially their sex organs. Scholar Winthrop Jordan muses that the “conflicting messages embraced by Anglo-American culture as it sought to control and circumscribe the bodies of enslaves men and women, on the one hand voice repulsion for Africans, framing them as beastly, ugly, and unappealing, while on the other hand viewing them as hypersexual.”
While white men of all classes actively – and often violently – engaged sexually with black women, the thought that white women could operate with the same level of agency was wholly radical. For the white patriarchy to uphold power and superiority over enslaved black bodies, black male sexuality could not be allowed to flourish, or even exist. So instead of tackling the reality of black male desirability, they instead painted enslaved men as bogeymen who were incapable of controlling their sexual urges and natural desire for white women (put a pin in that). White women were framed as helpless and wholly dependent on their white male protectors who defended and avenged them in equal measure against the “savage black man.”
While, on some levels, this imagery was also meant to deter white women from joining the workforce and becoming socially (and financially) independent from their patriarchal families, many white women played a role in the ritualized violence of black bodies.
Weaponizing their femininity + backwards perceptions of racial superiority, they pointed out "suspects" who were then brutalized publicly (and privately) as a way of "avenging their honor and affirming their racial dominance over black bodies." They attended public executions and burnings alongside their husbands, brothers, and fathers, often brought their children along. At home, they framed the destruction of black communities and black life as the only way of preserving their economic and political dominance over blacks (and to a lesser extent immigrant communities). Integration and reconciliation were not solutions, but forms of oppression against the white race. 
While we've steered away from lynchings as a society, the remnants of white supremacy and racial violence exist in police brutality and weaponized FALSE accusations like #AmyCooper.
Commentators and talking heads will argue whether or not she was justified in her actions. Even if she was intimidated (I'm 5'2 and can probably be tossed like a football) but the tactics she resorts to (raising her voice, her change in body language, even the look on her face) the same ones used by racists women of the late nineteenth and mid twentieth century. She, like so many women before her, thought that her whiteness (and womanhood) entitled her to point her pale finger and lie without a thought about the implications or consequences. We will likely never know if she truly meant to cause harm or simply make him “leave her alone.” But her actions reveal that she saw no problem lying - a lie that could potentially lead to the death of black man. If that happened, how could she ever reconcile her privilege and racism? 
This is why antiracist education in schools and work places is essential work. Racism isn't about someone being triggered by shitty jokes or tweets about how the Confederate soldiers were patriots (they were not). Racism shapes our interactions and access and, sometimes, whether or not we'll make it home. To support the actions of people like #AmyCooper is not only dangerous but sets a precedent that validates the restoration of white supremacist policies all for the sake of white economic, political, and social control and dominance over black, brown, and indigenous bodies.
The only way to reconcile this reality for white Americans to unlearn their ideas that “we’re all equal” or “race doesn’t matter.” We are all human and deserving of respect, empathy, and equity . . . but do not mistake that for us being equal. We are not and race does matter. It matters so much that our very lives depend on it. Once you recognize this reality, you must educate yourself, teach your children, and activate your activism.
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mysticalhearth · 4 years ago
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Saint Joan - National Theatre - February 16, 2017 (Pro-Shot's master) FORMAT:  MP4 (SD) CAST: Elliot Levey (Bishop of Beauvais/Cauchon), Fisayo Akinade (The Dauphin/Charles VII), Gemma Arterton (Joan), Hadley Fraser (Dunois), Jo Stone-Fewings (Earl of Warwick), Matt Bardock (Robert de Baudricourt/The Inquisitor), Niall Buggy (Archbishop of Rheims/A Gentleman) NOTES: Pro-shot. National Theatre Live Season Eight.
Saturday Night Fever - The Netherlands - 2003 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Joost de Jong (Tony), Chantal Janzen (Stephanie), Claudia de Graaf (Annette) NOTES: Generation loss Saved - Off-Broadway - June 8, 2008 FORMAT:  VOB (no smalls) (SD) CAST: Celia Keenan-Bolger (Mary), John Dossett (Pastor Skip), Julia Murney (Lillian), Mary Faber (Hilary Faye), Josh Breckenridge (Shane), Juliana Ashley Hansen (Lana), Curtis Holbrook (Roland), Van Hughes (Patrick), Jason Michael Snow (Zac), Aaron Tveit (Dean), Emily Walton (Tia), Morgan Weed (Cassandra) NOTES: One cover-up which lasts about 10 minutes The Scarlet Pimpernel - Broadway - February, 1998 FORMAT:  MP4 (HD) CAST: Douglas Sills (Sir Percy Blakeney), Christine Andreas (Marguerite St. Just), Terrence Mann (Chauvelin) School Girls; Or, The African Mean Girls Play - Off-Broadway - December, 2018 (Pro-Shot's master) FORMAT:  MKV (HD) CAST: Zenzi Williams (Eloise Amponsah), MaameYaa Boafo (Paulina), Joanna A Jones (Ericka), Myra Lucretia Taylor (Headmistress Francis), Latoya Edwards (Ama), Paige Gilbert (Gifty), Abena Mensah-Bonsu (Nana), Mirirai Sithole (Mercy) NOTES: Proshot WNET-TV's New York City-area Channel THIRTEEN continues its Theater Close-Up programming with a one-night-only broadcast of Jocelyn Bioh’s hit Off-Broadway play School Girls; Or, The African Mean Girls Play. The broadcast, filmed during the show's return run at the Lucille Lortel Theatre last year, plays August 16 at 9 PM. First seen Off-Broadway in 2017, the critically acclaimed School Girls; Or, the African Mean Girls Play was remounted by MCC Theater last fall, where it once again extended its engagement. Directed by Rebecca Taichman, the coming-of-age story takes place in an exclusive, all-girls boarding school in Ghana in the ‘80s and uses both comedy and drama to explore girlhood, colorism, colonialism, and beauty. School of Rock - Broadway - November 11, 2015 (Preview) (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Alex Brightman (Dewey Finn), Sierra Boggess (Rosalie Mullins), Spencer Moses (Ned Schneebly), Mamie Parris (Patty Di Marco), Isabella Russo (Summer), Dante Melucci (Freddie), Evie Dolan (Katie), Jared Parker (Lawrence), Brandon Niederauer (Zack), Bobbi MacKenzie (Tomika), Luca Padovan (Billy), Taylor Caldwell (Shonelle), Carly Gendell (Marcy), Corinne Wilson (Sophie), Ethan Khusidman (Mason), Shahadi Wright Joseph (Madison) NOTES: Great HD capture of this great new ALW show. There is a 5 minute blackout during the scene after the opening song, due to late seating issues. The cast is phenomenal and Alex gives a sensational performance. High energy show with great songs and is so much fun! The last 11 minutes (which is the finale) ARE here, but from a different performance as someone was taking *multiple* flash pictures with their iPhone in the row and was scolded and babysat those 11 minutes. A- School of Rock - Broadway - December 19, 2015 FORMAT:  MP4 (HD) CAST: Alex Brightman (Dewey Finn), Sierra Boggess (Rosalie Mullins), Spencer Moses (Ned Schneebly), Mamie Parris (Patty Di Marco), Isabella Russo (Summer), Dante Melucci (Freddie), Evie Dolan (Katie), Jared Parker (Lawrence), Brandon Niederauer (Zack), Bobbi MacKenzie (Tomika), Luca Padovan (Billy), Taylor Caldwell (Shonelle), Carley Gendell (Marcy), Corinne Wilson (Sophie), Ethan Khusidman (Mason), Shahadi Wright Joseph (Madison) School of Rock - Broadway - December 30, 2015 (Matinee) (SJ Bernly's master) FORMAT:  VOB (with smalls) (SD) CAST: Alex Brightman (Dewey Finn), Sierra Boggess (Rosalie Mullins), Spencer Moses (Ned Schneebly), Mamie Parris (Patty Di Marco), Isabella Russo (Summer), Dante Melucci (Freddie), Evie Dolan (Katie), Jared Parker (Lawrence), Brandon Niederauer (Zack), Bobbi MacKenzie (Tomika), Luca Padovan (Billy), Taylor Caldwell (Shonelle), Carly Gendell (Marcy), Corinne Wilson (Sophie), Ethan Khusidman (Mason), Shahadi Wright Joseph (Madison) NOTES: Beautiful HD capture of this wonderful show. Alex is perfectly cast as Dewey and leads the show well. A very nice capture with no obstruction, no washout, and just a couple quick dropouts. It gets a little dark at times and filmed from the right side. The sound is excellent. Includes curtain call and playbill scan. Alex Brightman shows why he deserves his Tony Nomination with a kick ass performance School of Rock - Broadway - February 17, 2016 (Matinee) FORMAT:  MP4 (SD) CAST: Jonathan Wagner (u/s Dewey Finn), Sierra Boggess (Rosalie Mullins), Spencer Moses (Ned Schneebly), Mamie Parris (Patty Di Marco), Isabella Russo (Summer), Dante Melucci (Freddie), Evie Dolan (Katie), Jared Parker (Lawrence), Brandon Niederauer (Zack), Bobbi MacKenzie (Tomika), Luca Padovan (Billy), Taylor Caldwell (Shonelle), Carly Gendell (Marcy), Corinne Wilson (Sophie), Ethan Khusidman (Mason), Shahadi Wright Joseph (Madison) NOTES: Please Read- Act One you can only see the ceiling due too many ushers around the filmer. Act two you can see the show partially. School of Rock - Broadway - August 8, 2016 FORMAT:  MP4 (SD) CAST: Alex Brightman (Dewey Finn), Sierra Boggess (Rosalie Mullins), Spencer Moses (Ned Schneebly), Mamie Parris (Patty Di Marco), Isabella Russo (Summer), Raghav Mehrotra (Freddie), Evie Dolan (Katie), Diego Lucano (Lawrence), Brandon Niederauer (Zack), Bobbi MacKenzie (Tomika), Luca Padovan (Billy), Gianna Harris (Shonelle), Carly Gendell (Marcy), Gabby Gutierrez (Sophie), Ethan Khusidman (Mason), Shahadi Wright Joseph (Madison), John Arthur Greene (Theo/Ensemble), Josh Tower (Snake/Mr. Mooneyham) NOTES: Sierra's last show School of Rock - Broadway - January 20, 2019 (Closing Night) (NYCG8R's master) FORMAT:  VOB (with smalls) (SD) CAST: Justin Collette (Dewey Finn), Mamie Parris (Rosalie Mullins), Johnathan Gould (Ned Schneebly), Lori Eve Marinacci (Patty Di Marco), Ava Briglia (Summer), Levi Buksbazen (Freddie), Montgomery Lamb (Katie), Jordan Cole (Lawrence), Matthew Jost (Zack), Layla Capers (Tomika), Hudson Loverro (Billy), Madison Elizabeth Lagares (Shonelle), Sarah Walsh (Marcy), Madalen Yarbrough Mills (Sophie), Nirvaan Pal (Mason), Katie Greendorfer (Madison), Jeremy Woodard (Theo/Ensemble) NOTES: Very nice capture of the final broadway show. During the last song (Stick It To The Man (Reprise)), all the kids who have been in the show in the past come out. School of Rock - First National Tour - November 24, 2017 (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Merritt David James (alt Dewey Finn), Lexie Dorsett Sharp (Rosalie Mullins), Matt Bittner (Ned Schneebly), Emily Borromeo (Patty Di Marco), Ava Briglia (Summer), Gilberto Moretti-Hamilton (Freddie), Theodora Silverman (Katie), Theo Mitchell-Penner (Lawrence), Phoenix Schuman (Zack), Gianna Harris (Tomika), John Michael Pitera (Billy), Olivia Bucknor (Shonelle), Chloe Anne Garcia (Marcy), Gabriella Uhl (Sophie), Carson Hodges (Mason) NOTES: Wonderful HD capture of the tour cast. Everything is nicely captured and the cast is terrific! A+ School of Rock - West End - August 21, 2019 (wheredidtherockgo's master) FORMAT:  TS (HD) CAST: Jake Sharp (alt Dewey Finn), Laura Tebbutt (Rosalie Mullins), Alan Pearson (Ned Schneebly), Rebecca LaChance (Patty Di Marco), Amelie Green (Summer), William Harvey (Freddie), Sofia Wilkinson Hill (Katie), Daniel Chang (Lawrence), Sebastian Adams Eaton (Zack), Kaylah Black (Tomika), Tommy Featherstone (Billy), Lily Jean Jackson (Shonelle), Calypso Bailey (Marcy), Ellie May Pavitt (Sophie), Todd Dachtler (Mason), Andy Rees (Theo/Ensemble), Ryan Bearpark (Snake/Mr. Mooneyham) NOTES: First show for Keisha Amponsa Banson, Benjamin Yates, Suzie McAdam, Kelly Hampson, Ryan Bearpark, Jayde Nelson. The sound of the video can become pretty loud. School of Rock - West End - January, 2019 (hitmewithyourbethshot's master) FORMAT:  MP4 (HD) CAST: Jake Sharp (u/s Dewey Finn), Claudia Kariuki (Rosalie Mullins), James Wolstenholme (Ned Schneebly), Michelle Francis (Patty Di Marco), Anya Hewett (Summer), Stanley Jarvis (Freddie), Anya Cooke (Katie), Austin Kindler (Lawrence), Jasper Bew (Zack), Aaylia Rose (Tomika), Jarvis Baugh (Billy), Tia Stuart (Shonelle), Romanie Jija-Wakeham (Marcy), Frankie Mae Garner (Sophie), John Addison (Theo/Ensemble), Andy Rees (u/s Snake/Mr. Mooneyham) NOTES: Full show. Original MP4 Scotland, PA - Off-Broadway - November, 2019 (StarCuffedJeans's master) FORMAT:  MP4 (HD) CAST: Jimmy Brewer (u/s Mac), Taylor Iman Jones (Pat), Jeb Brown (Duncan), Jay Armstrong Johnson (Banko), Will Meyers (Malcolm), David Rossmer (Doug), Lacretta Nicole (Mrs. Lenox), Megan Lawrence (Peg McDuff), Wonu Ogunfowora (Stacy/Brenda) NOTES: Great HD capture of this new Off-Broadway show, beautifully filmed from the orchestra. Act One starts when talking about the new fryer and Act Two starts when the detective is asking questions in the restaurant. Please do not post screenshots of this video on Twitter ever. Gifs on Tumblr are okay after the NFT date, but don't go linking things to actors and shows. The Secret Garden - 1st National Tour - 1992 (House-Cam's master) FORMAT:  MP4 (SD) CAST: Kevin McGuire (Archibald Craven), Anne Runolfsson (Lily Craven), Douglas Sills (Dr. Neville Craven), Jacquelyn Piro (Rose), Roxann Parker (Mrs. Winthrop/Alice), James Barbour (William), Jill Patton (Betsy), Audra McDonald (Ayah), Mary Fogarty (Mrs. Medlock) NOTES: NOT SURE ABOUT CAST INFORMATION, PLEASE VERIFY The Secret Garden - Lincoln Center - February 21, 2016 (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Sydney Lucas (Mary Lennox), Ramin Karimloo (Archibald Craven), Sierra Boggess (Lily Craven), Cheyenne Jackson (Dr. Neville Craven), Ben Platt (Dickon), Oscar Williams (Colin Craven), Jere Shea (Ben Weatherstaff), Nikki Renée Daniels (Rose), Josh Young (Captain Albert Lennox), Julie Halston (Mrs. Winthrop/Alice), Jamie Jackson (Lieutenant Ian Shaw), Telly Leung (Fakir), Anisha Nagarajan (Ayah), Barbara Rosenblat (Mrs. Medlock), Quentin Earl Darrington (Major Holmes), John Riddle (Lieutenant Peter Wright) The Secret Garden - World AIDS Day Concert - December 5, 2005 FORMAT:  MP4 (SD) CAST: Jaclyn Neidenthal (Mary Lennox), Steven Pasquale (Archibald Craven), Laura Benanti (Lily Craven), Will Chase (Dr. Neville Craven), Celia Keenan-Bolger (Martha), Michael Arden (Dickon), Struan Erlenborn (Colin Craven), David Canary (Ben Weatherstaff), Sara Gettelfinger (Rose), Max von Essen (Captain Albert Lennox), Deborah S Craig (Mrs. Winthrop/Alice), Matt Cavenaugh (Lieutenant Ian Shaw), Jenny Powers (Claire), Nehal Joshi (Fakir), Reshma Shetty (Ayah), Barbara Rosenblat (Mrs. Medlock), Benjamin Magnuson (Major Holmes), Shonn Wiley (Lieutenant Peter Wright)  
She Loves Me - Second Broadway Revival - February 23, 2016 (Preview) FORMAT:  VOB (with smalls) (SD) CAST: Laura Benanti (Amalia Balash), Zachary Levi (Georg Nowack), Byron Jennings (Mr. Maraczek), Jane Krakowski (Ilona Ritter), Gavin Creel (Steven Kodaly), Michael McGrath (Ladislav Sipos), Nicholas Barasch (Arpad Laszlo), Peter Bartlett (Headwaiter) Sherlock Holmes: Next Generation - Hamburg - January, 2019 (Rumpel's master) FORMAT:  VOB (with smalls) (SD) CAST: Ethan Freeman (Sherlock Holmes), Frank Logemann (Dr Watson), Merlin Fargel (John), Lena Wischhusen (Catherine), Stephanie H Tschoppe (Mrs Mason), Yvonne Köstler (Miss Hudson) NOTES: Many obstructions but still captures most of the action. Shrek: The Musical - Broadway - October, 2009 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Brian d'Arcy James (Shrek), Sutton Foster (Princess Fiona), Christopher Sieber (Lord Farquaad), Daniel Breaker (Donkey), John Tartaglia (Pinocchio/Magic Mirror/Dragon Puppeteer), Haven Burton (Sugar Plum Fairy/Gingy), Kirsten Wyatt (Duloc Performer/Shoemaker's Elf/Blind Mouse), Bobby Daye (Sticks/Bishop), Ryan Duncan (Bricks), Sarah Jane Shanks (Ugly Duckling/Blind Mouse), Aymee Garcia (Mama Bear/Dragonette), Rachel Stern (Dragonette/Mama Ogre), Jennifer Simard (Wicked Witch/Queen Lillian/Magic Mirror Assistant), Rozi Baker (Young Fiona), Tessa Albertson (Teen Fiona) NOTES: This 1080p HD proshot with soundboard audio was released in 2013, but was filmed in mid-October of 2009, a few months before the production closed. Significant Other - Broadway - March 10, 2017 (SunsetBlvd79's master) FORMAT:  VOB (no smalls) (SD) CAST: Gideon Glick (Jordan Berman), Barbara Barrie (Helene Berman), Lindsay Mendez (Laura), Sas Goldberg (Kiki), Rebecca Naomi Jones (Vanessa), John Behlmann (Will/Conrad/Tony), Luke Smith (Zach/Evan/Roger) Sing Street - Grounded - April 30, 2020 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Max William Bartos (Darren), Brendan C Callahan (Gary), Billy Carter (Robert), Zara Devlin (Raphina), Gus Halper (Brendan), Jakeim Hart (Larry), Martin Moran (Brother Baxter), Anne L Nathan (Sandra), Johnny Newcomb (Barry), Brenock O'Connor (Conor), Gian Perez (Kevin), Sam Poon (Eamon), Skyler Volpe (Anne), Amy Warren (Penny) NOTES: An abridged 30 minute version of the show, performed from home in support of both Broadway Cares/Equity Fights AIDS and The Mayor's Fund to Advance New York City.  
Sister Act - Broadway - April 2, 2011 (SunsetBlvd79's master) FORMAT:  MP4 (HD) CAST: Patina Miller (Deloris Van Cartier), Victoria Clark (Mother Superior), Kingsley Leggs (Curtis/Shank), Chester Gregory (Eddie Souther), Marla Mindelle (Mary Robert), Sarah Bolt (Mary Patrick), Fred Applegate (Monsignor O’Hara/Howard), John Treacy Egan (Joey/Bones), Demond Green (TJ) Sister Act - Broadway - January 31, 2012 FORMAT:  MTS CAST: Patina Miller (Deloris Van Cartier), Carolee Carmello (Mother Superior), Kingsley Leggs (Curtis/Shank), Chester Gregory (Eddie Souther), Marla Mindelle (Mary Robert), Sarah Bolt (Mary Patrick), Audrie Neenan (Mary Lazarus), Fred Applegate (Monsignor O’Hara/Howard), Caesar Samayoa (Pablo/Dinero), John Treacy Egan (Joey/Bones), Demond Green (TJ)  
Sister Act - First National Tour - November 18, 2012 (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Ta'Rea Campbell (Deloris Van Cartier), Hollis Resnik (Mother Superior), Kingsley Leggs (Curtis/Shank), E Clayton Cornelious (Eddie Souther), Lael Van Keuren (Mary Robert), Florrie Bagel (Mary Patrick), Diane J Findlay (Mary Lazarus) NOTES: Beautiful HD capture of the touring production. This cast was solid and was so fun to watch. A Sister Act - First UK & Ireland Tour - 2012 FORMAT:  VOB (with smalls) (SD)   |   NFT: Forever CAST: Cynthia Erivo (Deloris Van Cartier), Denise Black (Mother Superior), Nolan Frederick (Curtis/Shank), Edward Baruwa (Eddie Souther), Julie Atherton (Mary Robert), Laurie Scarth (Mary Patrick), Jacqueline Clarke (Mary Lazarus), Michael Starke (Monsignor O’Hara/Howard), Gavin Alex (Pablo/Dinero), Daniel Stockton (Joey/Bones), Tyrone Huntley (TJ) NOTES: An amazing beautiful capture in 16:9 wide-screen with no obstructions or blackouts of this fantastic musical which has just the right mix of music, comedy, fun and spectacle combined with some outstanding vocal performances. Sister Act - Scheveningen - July 13, 2014 FORMAT:  MP4 (HD) CAST: Nurlaila Karim (u/s Deloris Van Cartier), Marjolijn Touw (u/s Mother Superior), Stanley Burleson (Curtis/Shank), Jerrel Houtsnee (Eddie Souther), Tineke Ogink (u/s Mary Robert), Esmee van Kampen (Mary Patrick), Irene Kuiper (Mary Lazarus), Frans Mulder (Monsignor O’Hara/Howard), Zjon Smaal (Joey/Bones), Marlon David Henry (TJ) Sister Act - West End - 2009 FORMAT:  VOB (with smalls) (SD) CAST: Patina Miller (Deloris Van Cartier), Sheila Hancock (Mother Superior), Julian Cannonier (u/s Curtis/Shank), Ako Mitchell (Eddie Souther), Katie Rowley Jones (Mary Robert), Claire Greenway (Mary Patrick), Allison Harding (u/s Mary Lazarus), Ian Lavender (Monsignor O’Hara/Howard), Ivan de Freitas (Pablo/Dinero), Nic Colicos (Joey/Bones), Thomas Goodridge (TJ) Skintight - Off-Broadway - June, 2018 (NYCG8R's master) FORMAT:  VOB (with smalls) (SD) CAST: Idina Menzel (Jodi Isaac), Jack Wetherall (Elliot Isaac), Cynthia Mace (Orsolya), Stephen Carrasco (Jeff), Will Brittain (Trey), Eli Gelb (Benjamin Cullen) A Snow White Christmas - Pasadena Playhouse - December 15, 2012 (SJ Bernly's master) FORMAT:  VOB (with smalls) (SD) CAST: Curt Hansen (Prince Harry), Ariana Grande (Snow White), David Figlioli (Herman), Charlene Tilton (Wicked Queen), Jonathan Meza (Muddles), Neil Patrick Harris (Magic Mirror) NOTES: Entertaining show for all ages, with a score of recognizable pop songs and hilarious broadway and pop culture references to Wicked, Book of Mormon, How I Met Your Mother, Victorious, Dallas, and more. Some heads can be seen at the bottom of the screen, but they are worked around fine, especially after the first few minutes of the show. There are short dropouts during the first part of Act One, but each one lasts only 15-30 seconds. It’s filmed in 16:9 with a mix of wides, mediums, and close-ups. The sound is excellent. Includes curtain call. Soho Cinders - Off-West End Revival - January, 2020 (hitmewithyourbethshot's master) FORMAT:  MP4 (HD) CAST: Michael Mather (Robbie), Livvy Evans (Velcro), Michaela Stern (Clodagh), Hollie Taylor (Dana), Lewis Asquith (James Prince), Tori Hargreaves (Marilyn Platt), Dayle Hodge (William George), Robert Grose (Lord Bellingham), Melissa Rose (Sasha) NOTES: MTS, shot around heads, missing last 15 minutes of act 1, act 2 full, includes act 1 audio Soho Cinders - Off-West End Revival - October, 2019 (hitmewithyourbethshot's master) FORMAT:  MTS CAST: Luke Bayer (Robbie), Millie O’Connell (Velcro), Michaela Stern (Clodagh), Natalie Harman (Dana), Lewis Asquith (James Prince), Tori Hargreaves (Marilyn Platt), Ewan Gillies (William George), Christopher Coleman (Lord Bellingham), Melissa Rose (Sasha) NOTES: MTS, shot around heads Something Rotten! - Broadway - March 23, 2015 (Preview) (NYCG8R's master) FORMAT:  VOB (with smalls) (SD) CAST: Brian d'Arcy James (Nick Bottom), John Cariani (Nigel Bottom), Christian Borle (Shakespeare), Heidi Blickenstaff (Bea), Kate Reinders (Portia), Brad Oscar (Nostradamus), Brooks Ashmanskas (Brother Jeremiah), Gerry Vichi (Shylock), Michael James Scott (Minstrel/Snug), Peter Bartlett (Lord Clapham/Eyepatch Man) NOTES: First preview Something Rotten! - Broadway - March 28, 2015 (Preview) (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Brian d'Arcy James (Nick Bottom), John Cariani (Nigel Bottom), Christian Borle (Shakespeare), Heidi Blickenstaff (Bea), Kate Reinders (Portia), Brad Oscar (Nostradamus), Brooks Ashmanskas (Brother Jeremiah), Gerry Vichi (Shylock), Michael James Scott (Minstrel/Snug), Peter Bartlett (Lord Clapham/Eyepatch Man) NOTES: Excellent HD capture of this hilarious new musical. The cast is just too perfect in every way. Superb performances, music, story and a great homage to theatre and musicals. Not to be missed! A Something Rotten! - Broadway - June 20, 2016 (SJ Bernly's master) FORMAT:  MP4 (HD) CAST: Rob McClure (Nick Bottom), John Cariani (Nigel Bottom), Christian Borle (Shakespeare), Heidi Blickenstaff (Bea), Catherine Brunell (u/s Portia), Brad Oscar (Nostradamus), David Beach (Brother Jeremiah), Andre Ward (Minstrel/Snug) NOTES: With a mix of original cast and new faces, there are great performances all around. Nicely captured just a couple quick dropouts. There are some heads at the bottom of the screen that regularly block the actors’ feet, but they are worked around as much as possible, and generally don’t affect the main action. There is also some occasional washout, especially in wider shots. It’s filmed in 16:9, with a mix of wides, mediums, and close-ups. The sound is excellent. Includes curtain call and playbill scans. Something Rotten! - Broadway - November 12, 2016 (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Rob McClure (Nick Bottom), Josh Grisetti (Nigel Bottom), Adam Pascal (Shakespeare), Leslie Kritzer (Bea), Catherine Brunell (Portia), Brad Oscar (Nostradamus), David Beach (Brother Jeremiah) NOTES: Excellent HD capture of the final Broadway cast. Adam Pascal joined the cast as Shakespeare for the final 7 weeks on Broadway. Everything is captured nicely and the cast was still giving their all! Some minor washouts and the audio sounds like it is from the big theatre it was performed in. Songs for a New World - Encores! - June, 2018 (NYCG8R's master) FORMAT:  VOB (no smalls) (SD) CAST: Solea Pfeiffer (Woman 1), Mykal Kilgore (Man 1), Shoshana Bean (Woman 2), Colin Donnell (Man 2)  
Songs for a New World - Stuttgart, Germany - December 13, 2009 FORMAT:  VOB (with smalls) (SD) CAST: Dominique Aref (Woman 1), DMJ (Man 1), Willemijn Verkaik (Woman 2), Mathias Edenborn (Man 2) NOTES: Not the best quality, video is shaky and the sound isn’t perfect as well. You can hear everything though and the cast is great. Full show in English. Songs for a New World - Symphony Space, NYC - May 1, 2005 FORMAT:  VOB (with smalls) (SD) CAST: Andréa Burns, Beth Leavel, Brian d'Arcy James, Brooks Ashmanskas, Darius de Haas, Jason Robert Brown, Jerry Dixon, Jessica Molaskey, John Tartaglia, Michael Cerveris, Miriam Shor Sophisticated Ladies - Broadway - 1982 (Pro-Shot's master) FORMAT:  MP4 (SD) CAST: Hinton Battle (Himself), Phyllis Hyman (Herself), Calvin McRae, Garry Q Lewis, Gregg Burge, Leata Galloway, Lorraine Fields, Paula Kelly, Terri Klausner NOTES: Filmed in 1982 for Showtime at the Lunt-Fontanne Theatre before the show closed in January 1983. Features the final Broadway cast which was still composed of a large portion of the original Broadway cast, including Phyllis Hyman and Terri Klausner. The Sound of Music - Broadway (1998 Revival) - February 20, 1998 FORMAT:  VOB (with smalls) (SD) CAST: Rebecca Luker (Maria Rainer), Michael Siberry (Captain Georg Von Trapp), Patti Cohenour (The Mother Abbess), Jan Maxwell (Elsa Schraeder), Fred Applegate (Max Detweiler), Sara Zelle (Liesel Von Trapp), Gina Ferrall (Sister Berthe), Ann Brown (Sister Sophia), Andrea Bowen (Marta), Ashley Rose Orr (Gretl), Dashiell Eaves (Rolf Gruber), Patricia Conolly (Frau Schmidt) The Sound of Music - First Dutch Tour - 2002 FORMAT:  VOB (with smalls) (SD) CAST: Maaike Widdershoven (Maria Rainer), Hugo Haenen (Captain Georg Von Trapp), Anne-Mieke Ruyten (Elsa Schraeder), Dick Cohen (Max Detweiler), Céline Purcell (Liesel Von Trapp) The Sound of Music - The Sound Of Music Live - December 20, 2015 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Kara Tointon (Maria Rainer), Julian Ovenden (Captain Georg Von Trapp), Maria Friedman (The Mother Abbess), Katherine Kelly (Elsa Schraeder), Alexander Armstrong (Max Detweiler), Evelyn Hoskins (Liesel Von Trapp), Norma Atallah (Sister Berthe), Julie Atherton (Sister Margaretta), Imelda de los Reyes (Sister Sophia), Guy Trundle (Friedrich), Ellen Coleman (Louisa), Amy Snudden (Brigitta), Zac Lester (Kurt), Jessica Burden (Marta), Martha Otterburn (Gretl), Paul Copley (Franz), Jon Tarcy (Rolf Gruber), Mel Giedroyc (Frau Schmidt), David Bamber (Herr Zeller) NOTES: TV Proshot first broadcast Live in UK on ITV. Later broadcast as part of PBS's "Great Performances." South Pacific - First Broadway Revival - August 18, 2010 (Pro-Shot's master) FORMAT:  MPEG/MPG (SD) CAST: Kelli O’Hara (Ensign Nellie Forbush), Paulo Szot (Emile de Becque), Andrew Samonsky (Lt. Joseph Cable, U.S.M.C.), Danny Burstein (Luther Billis), Loretta Ables Sayre (Bloody Mary), Li Jun Li (Liat) NOTES: Presented as part of PBS Live From Lincoln Center series, and broadcast live from the Vivian Beaumont Theatre at Lincoln Center just 4 days before the end of the run of the show, making it the longest running revival of any Rogers and Hammerstein musical in history. Also included are interviews with the composers' daughters, Mary Rogers and Alice Hammerstein. Multi-camera pro-shot for TV Spamilton: An American Parody - Off-Broadway - December 31, 2016 (SJ Bernly's master) FORMAT:  VOB (with smalls) (SD) CAST: Chris Anthony Giles (Leslie Odom Jr/Aaron Burr), Christine Pedi (Bernadette Peters/Barbra Streisand/Carol Channing/Liza Minnelli/Patti LuPone), Glenn Bassett (King George), Larry Owens (Okieriete Onaodowan/Mulligan and others), Lauren Villegas (Schuyler Sisters and others), Nicholas Edwards (Daveed Diggs/Lafayette/Jefferson), Robert Ariza (u/s Lin Manuel Miranda/Alexander Hamilton) NOTES: A hilarious parody full of references to Hamilton, Lin-Manuel Miranda, and tons of other broadway shows and stars. A must-see for any fan. A good capture overall. There is one head that blocks the actors from the waist down in the center of the stage. There is a three-minute blackout during The Schuyler Puppets and a three minute blackout during the finale, as well as a couple other quick dropouts. It’s filmed in 16:9, with a mix of wides, mediums, and close-ups. The sound is excellent. The show is 72 minutes on one disc. Includes playbill scans. Spider-Man: Turn Off The Dark - Broadway - December 17, 2010 (Preview) FORMAT:  VOB (no smalls) (SD) CAST: Reeve Carney (Peter Parker/Spider-Man), Jennifer Damiano (Mary Jane Watson), Patrick Page (Norman Osborn/Green Goblin), Matt Caplan (Flash/Bud), Gerald Avery (Swarm), Collin Baja (Carnage), Emmanuel Brown (Electro) NOTES: Blindshot. You can't see anything on stage. Catches most of the aerial stunts. Audio is clear. Spider-Man: Turn Off The Dark - Broadway - September 17, 2011 (SunsetBlvd79's master) FORMAT:  MP4 (SD) CAST: Reeve Carney (Peter Parker/Spider-Man), Jennifer Damiano (Mary Jane Watson), TV Carpio (Arachne), Patrick Page (Norman Osborn/Green Goblin), Ken Marks (Uncle Ben/Buttons), Megan Lewis (u/s Aunt May/Maxie/Mrs. Gribrock) NOTES: This is the revamp Spiderman 2.0 Version. A completely reworked show from the original. A Nice capture of the show, and not such a horrible show compared to how the press made it out. A- Spider-Man: Turn Off The Dark - Broadway - October 14, 2012 (Lanelle's master) FORMAT:  MP4 (HD) |  TRADER'S NOTES: Youtube rip - to be gifted|Gifted: Upon Request CAST: Matthew James Thomas (Peter Parker/Spider-Man), Kristen Martin (u/s Mary Jane Watson), Katrina Lenk (Arachne), Robert Cuccioli (Norman Osborn/Green Goblin) NOTES: Good zooms and decent audio quality, best so far. SpongeBob SquarePants: The Broadway Musical - Broadway - November 7, 2017 (Preview) (NYCG8R's master) FORMAT:  VOB (no smalls) (SD) CAST: Ethan Slater (SpongeBob SquarePants), Danny Skinner (Patrick Star), Lilli Cooper (Sandy Cheeks), Gavin Lee (Squidward Q. Tentacles), Gaelen Gilliland (The Mayor), Brian Ray Norris (Eugene Krabs), Wesley Taylor (Sheldon Plankton), Stephanie Hsu (Karen the Computer), Jai'len Christine Li Josey (Pearl Krabs), Kelvin Moon Loh (Perch Perkins), Jon Rua (Patchy the Pirate), Allan K Washington (Gary/Larry the Lobster), Abby C Smith (Mrs. Puff), JC Schuster (Old Man Jenkins), Tom Kenny (French Narrator) NOTES: Top of a head or two visible at the bottom of screen in the very wide shot SpongeBob SquarePants: The Broadway Musical - Broadway - July 18, 2018 FORMAT:  MP4 (HD) CAST: Ethan Slater (SpongeBob SquarePants), Danny Skinner (Patrick Star), Lilli Cooper (Sandy Cheeks), Gavin Lee (Squidward Q. Tentacles), Gaelen Gilliland (The Mayor), Brian Ray Norris (Eugene Krabs), Brandon Espinoza (u/s Sheldon Plankton), Jai'len Christine Li Josey (Pearl Krabs), Allan K Washington (Gary/Larry the Lobster), Abby C Smith (Mrs. Puff) NOTES: Hovers above a lot; it remains this way for most of the video. 720P SpongeBob SquarePants: The Broadway Musical - Broadway - July 27, 2018 (notjustthespongenextdoor's master) FORMAT:  MP4 (HD) CAST: Ethan Slater (SpongeBob SquarePants), Danny Skinner (Patrick Star), Christina Sajous (Sandy Cheeks), Alex Gibson (u/s Squidward Q. Tentacles), Gaelen Gilliland (The Mayor), Brian Ray Norris (Eugene Krabs), Wesley Taylor (Sheldon Plankton), Catherine Ricafort (Karen the Computer), Brynn Williams (u/s Pearl Krabs), Kelvin Moon Loh (Perch Perkins), Brandon Espinoza (Patchy the Pirate), Allan K Washington (Gary/Larry the Lobster), Abby C Smith (Mrs. Puff), JC Schuster (Old Man Jenkins), Tom Kenny (French Narrator) NOTES: The master has updated to make the listing as whatever the user wishes. It can be limited trades or regular trades. Filmed from the right balcony, with no zooms. Mostly a wide shot of the stage. Quite a bit of spotlight washout. Audio is clear. Starts from right before “No Control.” The only known footage of Alex as Squidward or Brynn as Pearl. A watermark at the bottom left corner says 2014/01/31, ignore this. It is the wrong date.  
Spring Awakening - Brno, Czech Republic - 2010 (Pro-Shot's master) FORMAT:  VOB (with smalls) (SD) CAST: Jiri Mach (Melchior Gabor), Ivana Skalova (Wendla Bergmann), Lukas Janota (Moritz Stiefel), Michaela Horka (Ilse Neumann), Lukas Vlcek (Hanschen Rilow), Viktor Polasek (Ernst Robel), Jakub Ulicnik (Otto Lämmermeier), Vladimir Rezac (Georg Zirschnitz), Katerina Kleckova (Anna), Katerina Kleckova (Thea Rilow), Irena Konvalinova (The Adult Women), Zdenek Junak (The Adult Men) Spring Awakening - Broadway - November 29, 2006 (Preview) FORMAT:  VOB (no smalls) (SD) CAST: Jonathan Groff (Melchior Gabor), Lea Michele (Wendla Bergmann), John Gallagher Jr (Moritz Stiefel), Lauren Pritchard (Ilse Neumann), Jonathan B Wright (Hanschen Rilow), Gideon Glick (Ernst Robel), Brian Charles Johnson (Otto Lämmermeier), Skylar Astin (Georg Zirschnitz), Phoebe Strole (Anna), Remy Zaken (Thea Rilow), Christine Estabrook (The Adult Women), Stephen Spinella (The Adult Men) Spring Awakening - Broadway - February 10, 2007 (SunsetBlvd79's master) FORMAT:  VOB (no smalls) (SD) CAST: Jonathan Groff (Melchior Gabor), Lea Michele (Wendla Bergmann), John Gallagher Jr (Moritz Stiefel), Phoebe Strole (u/s Ilse Neumann), Lilli Cooper (Martha Bessell), Jonathan B Wright (Hanschen Rilow), Gideon Glick (Ernst Robel), Brian Charles Johnson (Otto Lämmermeier), Skylar Astin (Georg Zirschnitz), Krysta Rodriguez (u/s Anna), Remy Zaken (Thea Rilow), Frances Mercanti-Anthony (u/s The Adult Women), Stephen Spinella (The Adult Men) NOTES: AMAZING capture, closeups, performances. Not to be missed. A+ Spring Awakening - Broadway - February 21, 2007 FORMAT:  VOB (with smalls) (SD) CAST: Jonathan Groff (Melchior Gabor), Lea Michele (Wendla Bergmann), John Gallagher Jr (Moritz Stiefel), Lauren Pritchard (Ilse Neumann), Gideon Glick (Ernst Robel), Brian Charles Johnson (Otto Lämmermeier), Skylar Astin (Georg Zirschnitz), Phoebe Strole (Anna), Remy Zaken (Thea Rilow), Christine Estabrook (The Adult Women), Stephen Spinella (The Adult Men) Spring Awakening - Broadway - August 18, 2007 (Matinee) FORMAT:  MP4 (HD) CAST: Jonathan Groff (Melchior Gabor), Lea Michele (Wendla Bergmann), Gerard Canonico (u/s Moritz Stiefel), Lauren Pritchard (Ilse Neumann), Jennifer Damiano (u/s Martha Bessell), Jonathan B Wright (Hanschen Rilow), Gideon Glick (Ernst Robel), Matt Doyle (u/s Otto Lämmermeier), Skylar Astin (Georg Zirschnitz), Phoebe Strole (Anna), Remy Zaken (Thea Rilow), Christine Estabrook (The Adult Women), Ken Marks (u/s The Adult Men) Spring Awakening - Broadway - February 22, 2008 FORMAT:  VOB (with smalls) (SD) CAST: Jesse Swenson (u/s Melchior Gabor), Alexandra Socha (u/s Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Emma Hunton (Ilse Neumann), Jonathan B Wright (Hanschen Rilow), Blake Daniel (Ernst Robel), Brian Charles Johnson (Otto Lämmermeier), Skylar Astin (Georg Zirschnitz), Phoebe Strole (Anna), Remy Zaken (Thea Rilow), Kate Burton (The Adult Women), Glenn Fleshler (The Adult Men) Spring Awakening - Broadway - February 23, 2008 FORMAT:  VOB (no smalls) (SD) CAST: Matt Doyle (u/s Melchior Gabor), Alexandra Socha (u/s Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Emma Hunton (Ilse Neumann), Jesse Swenson (u/s Hanschen Rilow), Blake Daniel (Ernst Robel), Brian Charles Johnson (Otto Lämmermeier), Skylar Astin (Georg Zirschnitz), Phoebe Strole (Anna), Remy Zaken (Thea Rilow), Kate Burton (The Adult Women), Glenn Fleshler (The Adult Men) NOTES: Ends abruptly in the middle of Song Of Purple Summer Spring Awakening - Broadway - April 24, 2008 FORMAT:  VOB (with smalls) (SD) CAST: Jonathan Groff (Melchior Gabor), Lea Michele (Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Emma Hunton (Ilse Neumann), Matt Doyle (u/s Hanschen Rilow), Blake Daniel (Ernst Robel), Brian Charles Johnson (Otto Lämmermeier), Skylar Astin (Georg Zirschnitz), Phoebe Strole (Anna), Remy Zaken (Thea Rilow) NOTES: One of Matt Doyle's first times on as Hänschen, after taking over the role. He forgets one of his lines in the vineyard scene but improvises. Spring Awakening - Broadway - May 18, 2008 FORMAT:  VOB (with smalls) (SD) CAST: Jonathan Groff (Melchior Gabor), Lea Michele (Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Emma Hunton (Ilse Neumann), Matt Doyle (Hanschen Rilow), Blake Daniel (Ernst Robel), Brian Charles Johnson (Otto Lämmermeier), Skylar Astin (Georg Zirschnitz), Phoebe Strole (Anna), Remy Zaken (Thea Rilow), Christine Estabrook (The Adult Women), Glenn Fleshler (The Adult Men) NOTES: Jonathan Groff and Lea Michele's final performance Spring Awakening - Broadway - May 30, 2008 FORMAT:  VOB (with smalls) (SD) CAST: Kyle Riabko (Melchior Gabor), Eryn Murman (u/s Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Emma Hunton (Ilse Neumann), Matt Doyle (Hanschen Rilow), Blake Daniel (Ernst Robel), Brian Charles Johnson (Otto Lämmermeier), Gerard Canonico (u/s Georg Zirschnitz), Phoebe Strole (Anna), Remy Zaken (Thea Rilow), Christine Estabrook (The Adult Women), Glenn Fleshler (The Adult Men) Spring Awakening - Broadway - July 19, 2008 (Matinee) (broadwayspunk's master)
FORMAT: video CAST: Matt Shingledecker (u/s Melchior Gabor), Alexandra Socha (Wendla Bergmann), Brian Charles Johnson (u/s Moritz Stiefel), Emma Hunton (Ilse Neumann), Matt Doyle (Hanschen Rilow), Blake Daniel (Ernst Robel), Jesse Swenson (u/s Otto Lämmermeier), Skylar Astin (Georg Zirschnitz), Phoebe Strole (Anna), Remy Zaken (Thea Rilow), Christine Estabrook (The Adult Women), Glenn Fleshler (The Adult Men) NOTES: Final matinee for remaining original Broadway cast Spring Awakening - Broadway - July 19, 2008 (broadwayspunk's master) FORMAT:  VOB (with smalls) (SD) CAST: Kyle Riabko (Melchior Gabor), Alexandra Socha (Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Emma Hunton (Ilse Neumann), Matt Doyle (Hanschen Rilow), Blake Daniel (Ernst Robel), Brian Charles Johnson (Otto Lämmermeier), Skylar Astin (Georg Zirschnitz), Phoebe Strole (Anna), Remy Zaken (Thea Rilow), Christine Estabrook (The Adult Women), Glenn Fleshler (The Adult Men) NOTES: Skylar Astin, Lilli Cooper, Brian Charles Johnson, Phoebe Strole, and Remy Zaken’s last performance  
Spring Awakening - Broadway - August 2, 2008 FORMAT:  VOB (with smalls) (SD) CAST: Kyle Riabko (Melchior Gabor), Alexandra Socha (Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Emma Hunton (Ilse Neumann), Matt Doyle (Hanschen Rilow), Blake Daniel (Ernst Robel), Gabe Violett (Otto Lämmermeier), Andrew Durand (Georg Zirschnitz), Emily Kinney (Anna), Caitlin Kinnunen (Thea Rilow) NOTES: Final show for Kyle Riabko and Blake Bashoff (because they would go on to do the first national tour). Camera work is a little shaky, but has some really nice close ups. Spring Awakening - Broadway - August 7, 2008 FORMAT:  VOB (no smalls) (SD) CAST: Matt Doyle (t/r Melchior Gabor), Alexandra Socha (Wendla Bergmann), Gerard Canonico (Moritz Stiefel), Emma Hunton (Ilse Neumann), Jesse Swenson (Hanschen Rilow), Morgan Karr (Ernst Robel), Gabe Violett (Otto Lämmermeier), Andrew Durand (Georg Zirschnitz), Emily Kinney (Anna), Caitlin Kinnunen (Thea Rilow), Christine Estabrook (The Adult Women), Glenn Fleshler (The Adult Men) NOTES: Good capture with nice picture and sound. A few coverups but excellent close-ups and nice to watch. No curtain call. A- Spring Awakening - Broadway - January 18, 2009 (Closing Night) FORMAT:  VOB (with smalls) (SD) CAST: Hunter Parrish (Melchior Gabor), Alexandra Socha (Wendla Bergmann), Gerard Canonico (Moritz Stiefel), Emma Hunton (Ilse Neumann), Amanda Castanos (Martha Bessell), Matt Doyle (Hanschen Rilow), Blake Daniel (Ernst Robel), Gabe Violett (Otto Lämmermeier), Andrew Durand (Georg Zirschnitz), Emily Kinney (Anna), Caitlin Kinnunen (Thea Rilow), Christine Estabrook (The Adult Women), Glenn Fleshler (The Adult Men), Alice Lee, Eryn Murman, Morgan Karr, Zach Reiner-Harris NOTES: Closing Performance; features the full curtain call speech and the full show; some blackouts due to ushers; great sound and nice video Spring Awakening - Broadway - January 18, 2009 (Matinee) (Highlights)
FORMAT: video CAST: Hunter Parrish (Melchior Gabor), Alexandra Socha (Wendla Bergmann), Gerard Canonico (Moritz Stiefel), Emma Hunton (Ilse Neumann), Matt Doyle (Hanschen Rilow), Blake Daniel (Ernst Robel), Gabe Violett (Otto Lämmermeier), Emily Kinney (Anna), Caitlin Kinnunen (Thea Rilow) NOTES: The matinee of the final day of Spring Awakening on Broadway. Only includes the Mama Who Bore Me (Reprise), Don't Do Sadness/Blue Wind (whole scene), Left Behind, and Totally Fucked. Filmed in one of the front rows. Spring Awakening - Broadway Revival - October 18, 2015 (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Austin McKenzie (Melchior Gabor), Sandra Mae Frank (Wendla Bergmann), Katie Boeck (Voice of Wendla), Daniel N Durant (Moritz Stiefel), Alex Boniello (Voice of Moritz), Krysta Rodriguez (Ilse Neumann), Treshelle Edmond (Martha Bessell), Kathryn Gallagher (Voice of Martha), Andy Mientus (Hanschen Rilow), Joshua Castille (Ernst Robel), Daniel David Stewart (Voice of Ernst), Miles Barbee (Otto Lämmermeier), Sean Grandillo (Voice of Otto), Alex Wyse (Georg Zirschnitz), Ali Stroker (Anna), Amelia Hensley (Thea Rilow), Lauren Luiz (Melitta Rilow / Voice of Thea), Alexandra Winter (Greta Brandenburg), Marlee Matlin (The Adult Women), Camryn Manheim (Voice of Adult Women), Russell Harvard (The Adult Men), Patrick Page (Voice of Adult Men) NOTES: Deaf West Theatre production Spring Awakening - Broadway Revival - November 15, 2015 (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Austin McKenzie (Melchior Gabor), Sandra Mae Frank (Wendla Bergmann), Katie Boeck (Voice of Wendla), Daniel N Durant (Moritz Stiefel), Alex Boniello (Voice of Moritz), Krysta Rodriguez (Ilse Neumann), Treshelle Edmond (Martha Bessell), Kathryn Gallagher (Voice of Martha), Andy Mientus (Hanschen Rilow), Joshua Castille (Ernst Robel), Daniel David Stewart (Voice of Ernst), Miles Barbee (Otto Lämmermeier), Sean Grandillo (Voice of Otto), Alex Wyse (Georg Zirschnitz), Ali Stroker (Anna), Amelia Hensley (Thea Rilow), Lauren Luiz (Melitta Rilow / Voice of Thea), Alexandra Winter (Greta Brandenburg), Alexandria Wailes (u/s The Adult Women), Elizabeth Greene (u/s Voice of Adult Women), Russell Harvard (The Adult Men), Patrick Page (Voice of Adult Men) NOTES: Beautiful HD capture of the sign language production. This capture features the Adult Women understudies, who would go on to replace the originals. Also includes Left Behind from a Jon Groff concert. A Spring Awakening - Buenos Aires, Argentina - 2010 (Pro-Shot's master) FORMAT:  AVI (HD) CAST: Fernando Dente (Melchior Gabor), Florencia Otero (Wendla Bergmann), Federico Salles (Moritz Stiefel), Mariana Jaccazio (Ilse Neumann), Eliseo Barrionuevo (Hanschen Rilow), Leandro Bassano (Ernst Robel), Cristian Centurión (Otto Lämmermeier), Micaela Pierani Mendez (Anna), Julieta Nair Calvo (Thea Rilow), Irene Almas (The Adult Women), Tony Lestingi (The Adult Men) NOTES: Pro-shot with zooms, seems to be multi-camera. Non-replica production. Spring Awakening - Deaf West Theatre, Rosenthal Theater, Los Angeles - September 25, 2014 (SJ Bernly's master) FORMAT:  VOB (with smalls) (SD) CAST: Austin McKenzie (Melchior Gabor), Sandra Mae Frank (Wendla Bergmann), Katie Boeck (Voice of Wendla), Daniel N Durant (Moritz Stiefel), Rustin Cole Sailors (Voice of Moritz), Lauren Patten (Ilse Neumann), Treshelle Edmond (Martha Bessell), Kathryn Gallagher (Voice of Martha), Joseph Haro (Hanschen Rilow), Joshua Castille (Ernst Robel), Daniel David Stewart (Voice of Ernst), Miles Barbee (Otto Lämmermeier), Sean Grandillo (Voice of Otto), Jimmy Bellinger (Georg Zirschnitz), Ali Stroker (Anna), Amelia Hensley (Thea Rilow), Alexandra Winter (Melitta Rilow / Voice of Thea), Hillary Baack (The Adult Women), Natacha Roi (Voice of Adult Women), Troy Kotsur (The Adult Men), Daniel Marmion (Voice of Adult Men) NOTES: A nice capture overall; the biggest flaw here is the obstruction. There are a lot of heads that were very difficult to work around, but the show is still captured well and the actors are only occasionally blocked for a few seconds at a time. There are some very quick dropouts, but no major blackouts. It’s filmed in 16:9, with a mix of wides, mediums, and close-ups. The sound is excellent. Includes playbill scans. Spring Awakening - First National Tour - August 15, 2008 (kicks8567's master)
FORMAT: video CAST: Kyle Riabko (Melchior Gabor), Christy Altomare (Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Steffi DiDomenicantonio (Ilse Neumann), Sarah Hunt (Martha Bessell), Andy Mientus (Hanschen Rilow), Ben Moss (Ernst Robel), Anthony Lee Medina (Otto Lämmermeier), Matt Shingledecker (Georg Zirschnitz), Gabrielle Garza (Anna), Kimiko Glenn (Thea Rilow), Angela Reed (The Adult Women), Henry Stram (The Adult Men) NOTES: Same day as Sunsetblvd79's master. Video is grainy and shaky but it's a rarer capture. Mostly for SA collectors. Spring Awakening - First National Tour - August 15, 2008 (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Kyle Riabko (Melchior Gabor), Christy Altomare (Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Steffi DiDomenicantonio (Ilse Neumann), Sarah Hunt (Martha Bessell), Andy Mientus (Hanschen Rilow), Ben Moss (Ernst Robel), Anthony Lee Medina (Otto Lämmermeier), Matt Shingledecker (Georg Zirschnitz), Gabrielle Garza (Anna), Kimiko Glenn (Thea Rilow), Angela Reed (The Adult Women), Henry Stram (The Adult Men) NOTES: First Tour Performance. Stunning capture of the Tour. Absolutely no blackouts or obstructions from start to finish. Wonderful performances, beautiful capture and amazing cast. A+ Spring Awakening - First National Tour - November 4, 2008 FORMAT:  VOB (no smalls) (SD) CAST: Kyle Riabko (Melchior Gabor), Christy Altomare (Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Steffi DiDomenicantonio (Ilse Neumann), Andy Mientus (Hanschen Rilow), Ben Moss (Ernst Robel), Anthony Lee Medina (Otto Lämmermeier), Matt Shingledecker (Georg Zirschnitz), Gabrielle Garza (Anna), Kimiko Glenn (Thea Rilow), Angela Reed (The Adult Women), Henry Stram (The Adult Men) Spring Awakening - First National Tour - November 4, 2008 FORMAT:  VOB (no smalls) (SD) |  TRADER'S NOTES: PLEASE DO NOT REQUEST. Working on uploading :) CAST: Kyle Riabko (Melchior Gabor), Christy Altomare (Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Steffi DiDomenicantonio (Ilse Neumann), Andy Mientus (Hanschen Rilow), Ben Moss (Ernst Robel), Anthony Lee Medina (Otto Lämmermeier), Matt Shingledecker (Georg Zirschnitz), Gabrielle Garza (Anna), Kimiko Glenn (Thea Rilow), Angela Reed (The Adult Women), Henry Stram (The Adult Men) Spring Awakening - First National Tour - November 7, 2008 FORMAT:  MP4 (SD) |  TRADER'S NOTES: Highlights CAST: Kyle Riabko (Melchior Gabor), Christy Altomare (Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Steffi DiDomenicantonio (Ilse Neumann), Andy Mientus (Hanschen Rilow), Ben Moss (Ernst Robel), Anthony Lee Medina (Otto Lämmermeier), Matt Shingledecker (Georg Zirschnitz), Gabrielle Garza (Anna), Kimiko Glenn (Thea Rilow), Angela Reed (The Adult Women), Henry Stram (The Adult Men) NOTES: Apple store event. Kyle Riabko acts as the Melchior for the event, doing intros/cracking jokes for each song. The cast also participated in a fun Q&A session taking questions from a moderator as well as the audience. Spring Awakening - First National Tour - April 25, 2009 FORMAT:  MP4 (HD) CAST: Perry Sherman (u/s Melchior Gabor), Christy Altomare (Wendla Bergmann), Blake Bashoff (Moritz Stiefel), Steffi DiDomenicantonio (Ilse Neumann), Andy Mientus (Hanschen Rilow), Ben Moss (Ernst Robel), Anthony Lee Medina (Otto Lämmermeier), Matt Shingledecker (Georg Zirschnitz), Gabrielle Garza (Anna), Krystina Alabado (u/s Thea Rilow), Angela Reed (The Adult Women), Henry Stram (The Adult Men) Spring Awakening - First National Tour - November 19, 2009 FORMAT:  VOB (with smalls) (SD) CAST: Lucas A Wells (u/s Melchior Gabor), Christy Altomare (Wendla Bergmann), Taylor Trensch (Moritz Stiefel), Steffi DiDomenicantonio (Ilse Neumann), Sarah Hunt (Martha Bessell), Andy Mientus (Hanschen Rilow), Ben Fankhauser (Ernst Robel), Anthony Lee Medina (Otto Lämmermeier), Justin Scott Brown (u/s Georg Zirschnitz), Gabrielle Garza (Anna), Kimiko Glenn (Thea Rilow), Angela Reed (The Adult Women), John Wodja (The Adult Men) Spring Awakening - First National Tour - November 21, 2009 FORMAT:  VOB (with smalls) (SD) CAST: Jake Epstein (Melchior Gabor), Christy Altomare (Wendla Bergmann), Taylor Trensch (Moritz Stiefel), Steffi DiDomenicantonio (Ilse Neumann), Sarah Hunt (Martha Bessell), Andy Mientus (Hanschen Rilow), Ben Fankhauser (Ernst Robel), Anthony Lee Medina (Otto Lämmermeier), Matt Shingledecker (Georg Zirschnitz), Gabrielle Garza (Anna), Kimiko Glenn (Thea Rilow), Angela Reed (The Adult Women), John Wodja (The Adult Men) NOTES: Closing performance in Costa Mesa, commonly mislabeled as November 29 Spring Awakening - Hungary - March 19, 2009 (House-Cam's master) FORMAT:  MP4 (SD) CAST: Kossuth Gergő (Melchior Gabor), Viczina Dalma (Wendla Bergmann), Pirgel Dávid (Moritz Stiefel), Baranyai Annamária (Ilse Neumann), Moravszki Enikő (Martha Bessell), Gulyás Balázs (Hanschen Rilow), Zádori Szilárd (Ernst Robel), Kádár Szabolcs (Otto Lämmermeier), Kocsis Dénes (Georg Zirschnitz), Kiss Tünde (Anna), Simon Boglárka (Thea Rilow), Bajcsay Mária (The Adult Women), Szabó P Szilveszter (The Adult Men) NOTES: Stationary housecam from an upper level, but colours are bright, clear, and vivid and the image is nice and crisp. Sound is clear from the soundboard. Totally different staging from Broadway, more your standard bizarre Hungarian design (massive lucite fetish here.) Spring Awakening - Hungary - December 3, 2009 (Pro-Shot's master) FORMAT:  TS (SD) CAST: Kossuth Gergő (Melchior Gabor), Viczina Dalma (Wendla Bergmann), Pirgel Dávid (Moritz Stiefel), Baranyai Annamária (Ilse Neumann), Gulyás Balázs (Hanschen Rilow), Zádori Szilárd (Ernst Robel), Kádár Szabolcs (Otto Lämmermeier), Kocsis Dénes (Georg Zirschnitz), Kiss Tünde (Anna), Simon Boglárka (Thea Rilow) NOTES: Single cam proshot. Spring Awakening - Mexico - 2012 (Pro-Shot's master) FORMAT:  VOB (with smalls) (SD) CAST: Alan Estrada (Melchior Gabor), Melissa Barrera (Wendla Bergmann), Jose Luis Navarrete (Moritz Stiefel), Roxana Puente (Ilse Neumann), Iker Madrid (Hanschen Rilow), Arturo Valdemar (Ernst Robel), Pablo Rodriguez (Otto Lämmermeier), José Guerrero (Georg Zirschnitz), Estibalitz Ruiz (Anna), Melissa Ortiz (Thea Rilow), Gicela Sehedi (The Adult Women), Cristobal Garcia-Naranjo (The Adult Men) Spring Awakening - Mexico - 2012 (Pro-Shot's master) FORMAT:  MP4 (SD) CAST: Alan Estrada (Melchior Gabor), Melissa Barrera (Wendla Bergmann), Jose Luis Navarrete (Moritz Stiefel), Roxana Puente (Ilse Neumann), Iker Madrid (Hanschen Rilow), Arturo Valdemar (Ernst Robel), Pablo Rodriguez (Otto Lämmermeier), José Guerrero (Georg Zirschnitz), Estibalitz Ruiz (Anna), Melissa Ortiz (Thea Rilow), Gicela Sehedi (The Adult Women), Cristobal Garcia-Naranjo (The Adult Men) Spring Awakening - Off-Broadway - July 9, 2006 FORMAT:  MP4 (SD) CAST: Jonathan Groff (Melchior Gabor), Lea Michele (Wendla Bergmann), John Gallagher Jr (Moritz Stiefel), Lauren Pritchard (Ilse Neumann), Jonathan B Wright (Hanschen Rilow), Gideon Glick (Ernst Robel), Brian Charles Johnson (Otto Lämmermeier), Skylar Astin (Georg Zirschnitz), Phoebe Strole (Anna), Remy Zaken (Thea Rilow), Mary McCann (The Adult Women), Frank Wood (The Adult Men) NOTES: Done before the move to Broadway, nice picture and sound. A Spring Awakening - Rio de Janeiro, Brazil - 2010 (Pro-Shot's master) FORMAT:  AVI (SD) CAST: Pierre Baitelli (Melchior Gabor), Malu Rodrigues (Wendla Bergmann), Rodrigo Pandolfo (Moritz Stiefel), Letícia Colin (Ilse Neumann), Thiago Amaral (Hanschen Rilow), Felipe de Carolis (Ernst Robel), Bruno Sigrist (Otto Lämmermeier), André Loddi (Georg Zirschnitz), Estrela Blanco (Anna), Júlia Bernat (Thea Rilow), Deborah Olivieri (The Adult Women), Carlos Gregório (The Adult Men) NOTES: Proshot, filmed on a tripod with sound patched directly in. Non-replica production Spring Awakening - Second National Tour - February 8, 2011 FORMAT:  VOB (with smalls) (SD) CAST: Christopher Wood (Melchior Gabor), Elizabeth Judd (Wendla Bergmann), Coby Getzug (Moritz Stiefel), Courtney Markowitz (Ilse Neumann), Devon Stone (Hanschen Rilow), Daniel Plimpton (Ernst Robel), George Salazar (Otto Lämmermeier), Jim Hogan (Georg Zirschnitz), Rachel Geisler (Anna), Emily Mest (Thea Rilow), Sarah Kleeman (The Adult Women), Mark Poppleton (The Adult Men)
Spring Awakening - South Korea - 2009 FORMAT:  AVI (SD) CAST: Mu-yeol Kim (Melchior Gabor), Yu-young Kim (Wendla Bergmann), Jung-seok Cho (Moritz Stiefel), Ji-hyun Kim (Ilse Neumann), Dong-hyun Kim (Hanschen Rilow), Ha-neul Kim (Ernst Robel), Dong-wook Yuk (Otto Lämmermeier), Seuk-won Yun (Georg Zirschnitz), Lan-ju Park (Anna), So-yeon Oh (Thea Rilow) NOTES: Misses 'I Believe' and the Preacher's Sermon before 'The Guilty Ones'. Spring Awakening - University of Cincinnati - 2012 FORMAT: M4V CAST: Max Clayton (Melchior Gabor), Kathryn Boswell (Wendla Bergmann), Matt Hill (Moritz Stiefel), Alysha Deslorieux (Ilse Neumann), Julian Decker (Hanschen Rilow), Nate Irvin (Ernst Robel), Kevin Brown (Otto Lämmermeier), Noah J Ricketts (Georg Zirschnitz), Erica Vlahinos (Anna), Alison Bagil (Thea Rilow) Spring Awakening - Vienna - May 24, 2009 FORMAT:  VOB (with smalls) (SD) CAST: Rasmus Borkowski (Melchior Gabor), Jana Stelley (u/s Wendla Bergmann), Wolfgang Türks (Moritz Stiefel), Jennifer Kothe (Ilse Neumann), Johannes Huth (Hanschen Rilow), André Naujoks (u/s Ernst Robel), Marlon Wehmeier (Otto Lämmermeier), Dominik Hees (Georg Zirschnitz), Jana Nagy (Anna), Jeannine Michèle Wacker (Thea Rilow), Julia Stemberger (The Adult Women), Daniel Berger (The Adult Men) NOTES: Six major blackouts (including the majority of “My Junk” and “The Mirror-Blue Night” and the taper has a couple of performers that they obviously favour. The result is a video that stays in tight shot on the people in question for most of the show and has the shakes to go with it. Sound is great and it’s good to see the Vienna cast. Final performances for most of the understudies in their roles. Spring Awakening - Wallis Annenberg For The Performing Arts, Beverly Hills - June 13, 2015 (Matinee) (SJ Bernly's master) FORMAT:  MP4 (HD) CAST: Austin McKenzie (Melchior Gabor), Sandra Mae Frank (Wendla Bergmann), Katie Boeck (Voice of Wendla), Daniel N Durant (Moritz Stiefel), Alex Boniello (Voice of Moritz), Krysta Rodriguez (Ilse Neumann), Treshelle Edmond (Martha Bessell), Kathryn Gallagher (Voice of Martha), Andy Mientus (Hanschen Rilow), Joshua Castille (Ernst Robel), Daniel David Stewart (Voice of Ernst), Miles Barbee (Otto Lämmermeier), Sean Grandillo (Voice of Otto), Alex Wyse (Georg Zirschnitz), Ali Stroker (Anna), Amelia Hensley (Thea Rilow), Lauren Luiz (Melitta Rilow / Voice of Thea), Alexandra Winter (Greta Brandenburg), Hillary Baack (The Adult Women), Natacha Roi (Voice of Adult Women), Howie Seago (The Adult Men), Daniel Marmion (Voice of Adult Men) NOTES: Fantastic capture of Deaf West's production during it's run at the Wallis Annenberg; very well captured with no obstructions, or washout, and just a few seconds of dropouts throughout the entire show, most of which happen between scenes. Great picture and sound throughout. Spring Awakening - West End (Novello Theatre) - May 30, 2009 (Matinee) (Closing Night) (Highlights) FORMAT:  VOB (with smalls) (SD) CAST: Aneurin Barnard (Melchior Gabor), Charlotte Wakefield (Wendla Bergmann), Iwan Rheon (Moritz Stiefel), Lucy May Barker (Ilse Neumann), Hayley Gallivan (Martha Bessell), Jamie Blackley (Hanschen Rilow), Harry McEntire (Ernst Robel), Edd Judge (Otto Lämmermeier), Jos Slovick (Georg Zirschnitz), Natasha Barnes (Anna), Evelyn Hoskins (Thea Rilow), Sian Thomas (The Adult Women), Richard Cordery (The Adult Men) NOTES: Highlights of approximately 45 minutes of Act 2 only; filmed in widescreen with nice picture and sound with no coverups until the end of Totally Fucked, then little snippets of video and a full Those You've Known, after which the video footage ends. Starlight Express - Broadway - January 8, 1989 (Closing Night) FORMAT:  MP4 (HD) CAST: Greg Mowry (Rusty), Reva Rice (Pearl), Jane Krakowski (Dinah), Todd Lester (Caboose), Michael Scott Gregory (Dustin) NOTES: Final Broadway performance. Starlight Express - West End - 1988 (Pro-Shot's master) FORMAT:  VOB (with smalls) (SD) CAST: Gary Cordice (Rusty), Kim Leeson (Pearl), Drue Williams (Greaseball), Koffi Missah (u/s Elektra), Dawn Buckland (u/s Dinah), Shezwae Powell (Belle), Peter Reeves (Caboose) NOTES: Proshot, extreme gen loss and you can barely see anything but colours. There are separate cameras for the race scenes, which look great. Sunday in the Park with George - Broadway - October 21–25, 1985 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Mandy Patinkin (Georges Seurat / George), Bernadette Peters (Dot / Marie), Barbara Bryne (Old Lady), Judith Moore (Nurse), Charles Kimbrough (Jules), Dana Ivey (Yvonne), Robert Westenberg (Soldier), Melanie Vaughan (Celeste #1), Mary D'Arcy (Celeste #2), Brent Spiner (Franz), Frank Kopyc (Mr.), Judith Moore (Mrs.), Nancy Opel (Frieda), William Parry (Boatman), Cris Groenendaal (Louis), Danielle Ferland (Louise), Charles Kimbrough (Bob Greenberg), Brent Spiner (Dennis), Dana Ivey (Naomi Eisen), Mary D'Arcy (Elaine), Judith Moore (Harriet Pawling), Cris Groenendaal (Billy Webster), William Parry (Charles Redmond), Robert Westenberg (Alex), Nancy Opel (Betty), Frank Kopyc (Lee Randolph), Barbara Bryne (Blair Daniels) Sunday in the Park with George - Second Broadway Revival - March 8, 2017 (SunsetBlvd79's master) FORMAT:  VOB (no smalls) (SD) |  TRADER'S NOTES: Highlights CAST: Jake Gyllenhaal (Georges Seurat / George), Annaleigh Ashford (Dot / Marie), Penny Fuller (Old Lady), Jennifer Sanchez (Nurse), Robert Sean Leonard (Jules), Erin Davie (Yvonne), Claybourne Elder (Soldier), Ashley Park (Celeste #1), Jenni Barber (Celeste #2), David Turner (Franz), Brooks Ashmanskas (Mr.), Liz McCartney (Mrs.), Ruthie Ann Miles (Frieda), Phillip Boykin (Boatman), Jordan Gelber (Louis), Mattea Conforti (Louise), Robert Sean Leonard (Bob Greenberg), David Turner (Dennis), Erin Davie (Naomi Eisen), Jenni Barber (Elaine), Jennifer Sanchez (Harriet Pawling), Jordan Gelber (Billy Webster), Brooks Ashmanskas (Charles Redmond), Claybourne Elder (Alex), Ruthie Ann Miles (Betty), Phillip Boykin (Lee Randolph), Penny Fuller (Blair Daniels), Jennifer Sanchez (Samantha), Ashley Park (Theresa) NOTES: Excellent HD capture of the Broadway transfer. The performances have really been fine tuned and beautifully performed. Jake and Annaleigh are perfection together. A Sunday in the Park with George - Théâtre Du Châtelet, Paris - April 17, 2013 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Julian Ovenden (Georges Seurat / George), Sophie-Louise Dann (Dot / Marie), Rebecca de Pont Davies (Old Lady), Jessica Walker (Nurse), Nikolas Grace (Jules), Beverly Klein (Yvonne), David Curry (Soldier), Rebecca Bottone (Celeste #1), Francesca Jackson (Celeste #2), Damian Thantrey (Franz), Scott Emerson (Mr.), Elisa Doughty Louis (Mrs.), Christine Buffle (Frieda), Nicholas Garrett (Boatman), Jonathan Gunthorpe (Louis), Laura Gravier-Britten (Louise) NOTES: Pro-Shot filmed for French television. This critically acclaimed production uses a revolving set amid state-of-the-art video backdrops. In English, with French subtitles. Broadcast in May, 2013. Sunset Boulevard - Broadway Revival - February 3, 2017 (Preview) (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Glenn Close (Norma Desmond), Michael Xavier (Joe Gillis), Fred Johanson (Max von Mayerling), Siobhan Dillon (Betty Schaeffer), Preston Truman Boyd (Artie Green), Paul Schoeffler (Cecil B. DeMille), Andy Taylor (Sheldrake), Jim Walton (Manfred) NOTES: Beautiful HD capture from the Orchestra of the Second Preview performance. Glenn again knocks her performance out of the park! Some subtle changes and delivery from the first performance. Terrific audience response and energy from the cast throughout the show! Sunset Boulevard - Netherlands - 2009 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Pia Douwes (Norma Desmond), Antonie Kamerling (Joe Gillis), Peter de Smet (Max von Mayerling), Maike Boerdam (Betty Schaeffer), Jasper Kerkhof (Artie Green), Dick Schaar (Cecil B. DeMille), Paul Disbergen (Sheldrake), Derek Blok (Manfred), Mo Marcus (Heather) Sunset Boulevard - Netherlands - April 15, 2009 (Highlights) FORMAT:  VOB (with smalls) (SD) CAST: Pia Douwes (Norma Desmond) NOTES: Highlights. Quality: B Sunset Boulevard - West End - July, 1993 (Preview) (House-Cam's master) FORMAT:  MP4 (SD) CAST: Patti LuPone (Norma Desmond), Kevin Anderson (Joe Gillis), Daniel Benzali (Max von Mayerling) NOTES: Black and white house-cam footage with crystal clear soundboard audio, slightly washed out at times (as it was in infrared) but a great capture of the performances and the staging. Definitely filmed in July. Theres a higher quality MP4 version with no graininess and clear footage being traded as well. Check with traders. Swan Lake (Ballet) - The Royal Ballet - 2018 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Marianela Núñez, Vadim Muntagirov, Bennet Gartside, Elizabeth McGorian, Alexander Campbell, Francesca Hayward, Akane Takada
Sweeney Todd: The Demon Barber of Fleet Street - Broadway Revival - April 2, 2006 (SunsetBlvd79's master) FORMAT:  VOB (no smalls) (SD) CAST: Michael Cerveris (Sweeney Todd), Patti LuPone (Mrs. Lovett), Benjamin Magnuson (Anthony Hope), Lauren Molina (Johanna), Mark Jacoby (Judge Turpin), Alexander Gemignani (Beadle Bamford), Diana DiMarzio (Beggar Woman), Donna Lynne Champlin (Adolfo Pirelli), John Arbo (Jonas Fogg) NOTES: Great Revival and nicely done. Crystal clear picture and sound. Lots of closeups. A Sweeney Todd: The Demon Barber of Fleet Street - First National Tour - September, 1981 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: George Hearn (Sweeney Todd), Angela Lansbury (Mrs. Lovett), Cris Groenendaal (Anthony Hope), Betsy Joslyn (Johanna), Edmund Lyndeck (Judge Turpin), Ken Jennings (Tobias Ragg), Calvin Remsberg (Beadle Bamford), Sara Woods (Beggar Woman), Sal Mistretta (Adolfo Pirelli), Michael Kalinyen (Jonas Fogg) NOTES: Commercial proshot video. Often mislabelled as being September 12th, 1982, HOWEVER, that is when it aired on PBS, not when it was recorded. Sweeney Todd: The Demon Barber of Fleet Street - Manila & Singapore - October 11, 2019 (Opening Night) (Highlights) (andflyingaway's master) FORMAT:  MP4 (HD) CAST: Jett Pangan (Sweeney Todd), Lea Salonga (Mrs. Lovett), Gerald Santos (Anthony Hope), Mikkie Bradshaw-Volante (Johanna), Andrew Fernando (Judge Turpin), Luigi Quesada (Tobias Ragg), Arman Ferrer (Beadle Bamford), Ima Castro (Beggar Woman), Nyoy Volante (Adolfo Pirelli), Dean Rosen (Jonas Fogg), Christine Flores, Emeline Celis Guinid, Jep Go, Kevin Guiman, Sarah Facuri, Steven Conde NOTES: Highlights: Johanna, Kiss Me, and Act 2 until part of Johanna (Reprise). A bunch of clips from the opening night of Sweeney Todd in Manila! Shot 3rd row at the balcony. I shot more but they were too zoomed in that they’re more likely to be considered audio so I decided not to include them. I was very near the usher and they were really strict. The phone was in my jacket pocket so I couldn’t see anything and I was scared of getting caught, so a lot is very zoomed and I’m really sorry about that. I absolutely loved the set, it was reimagined into a more modern almost gangster like setting. Shot in 4k on my phone. Please gift out to anyone who asks. Sweeney Todd: The Demon Barber of Fleet Street - New York Philharmonic Concert - March 5-8, 2014 (Pro-Shot's master) video |  TRADER'S NOTES: PLEASE DO NOT REQUEST. Working on uploading :) CAST: Bryn Terfel (Sweeney Todd), Emma Thompson (Mrs. Lovett), Jay Armstrong Johnson (Anthony Hope), Erin Mackey (Johanna), Philip Quast (Judge Turpin), Kyle Brenn (Tobias Ragg), Jeff Blumenkrantz (Beadle Bamford), Bryonha Marie Parham (Beggar Woman), Christian Borle (Adolfo Pirelli), Audra McDonald NOTES: Filmed in March 2014 and aired on PBS on September 26, 2014. Sweeney Todd: The Demon Barber of Fleet Street - San Francisco Symphony Concert - July, 2001 (Pro-Shot's master) FORMAT:  MP4 (SD) CAST: George Hearn (Sweeney Todd), Patti LuPone (Mrs. Lovett), Davis Gaines (Anthony Hope), Lisa Vroman (Johanna), Timothy Nolen (Judge Turpin), Neil Patrick Harris (Tobias Ragg), John Aler (Beadle Bamford), Victoria Clark (Beggar Woman) NOTES: Aired on PBS on October 31, 2001. Sweeney Todd: The Demon Barber of Fleet Street - Théâtre Du Châtelet, Paris - May 20, 2011 (Pro-Shot's master) FORMAT:  MP4 (SD) CAST: Rod Gilfry (Sweeney Todd), Caroline O’Connor (Mrs. Lovett), Nicholas Garrett (Anthony Hope), Rebecca Bottone (Johanna), Jonathan Best (Judge Turpin), Pascal Charbonneau (Tobias Ragg), John Graham-Hall (Beadle Bamford), Rebecca de Pont Davies (Beggar Woman), David Curry (Adolfo Pirelli) NOTES: Single camera pro-shot Sweeney Todd: The Demon Barber of Fleet Street - Third West End Revival - 2011 (House-Cam's master) FORMAT:  VOB (with smalls) (SD) CAST: Michael Ball (Sweeney Todd), Imelda Staunton (Mrs. Lovett), Luke Brady (Anthony Hope), Lucy May Barker (Johanna), John Bowe (Judge Turpin), James McConville (Tobias Ragg), Peter Polycarpou (Beadle Bamford), Gillian Kirkpatrick (Beggar Woman), Rob Burt (Adolfo Pirelli) NOTES: Fixed house-cam recording of the 2012 West End revival at Adelphie Theatre. There is a copy with press footage inserted for A Little Priest and Epiphany. Unsure if there is unaltered footage circulating; check with traders. FORMAT:  VOB (with smalls) (SD) CAST: Ann Reinking (Charity Hope Valentine), Bebe Neuwirth (Nickie)
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