Information Man Show

When enslaved people escaped from the US to Mexico, they were immediately declared free citizens. This is an Afro-mexican soldier in the Mexican Revolution.

2 days ago | [YT] | 399

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September 20, 1958: Martin Luther King Jr. in the hospital after being stabbed in a Harlem department store with a letter opener lodged near his heart.

— MLK Jr. Assassination Attempt —

On 20th September 1958, Izola Ware Curry, a 42-year-old mentally disturbed woman, stabbed Martin Luther King, Jr., while he signed copies of his book, Stride Toward Freedom, at Blumstein’s Department Store in Harlem, New York. Curry approached King with a seven-inch steel letter opener and drove the blade into the upper left side of his chest. King was rushed to Harlem Hospital, where he underwent more than two hours of surgery to repair the wound.

Izola Ware Curry was born June 14, 1916 in Adrian, Georgia. She was married to James Curry. The couple lived in Savannah until the late thirties when they separated then Izola Curry moved to New York City. She lived on the top floor of a tenement house at 121 W. 122nd Street in Harlem. She worked as a domestic she was unemployed. Her mind, clouded with thoughts of fear, fear of a false enemy, began fail her. For years, Curry feared the N.A.A.C.P. She believed that the members of the organization were all Communists.

Her life was a series of troubles. Her marriage was troubled. Her life was troubled. Her mind was troubled. Her mind in turmoil, her reasoning gone, she took a letter opener and plunged it into to the breast of Dr. Martin Luther King on September 21,1958 in New York City. She was arrested at the scene and later found to be carrying a loaded gun. During her questioning by police at New York's 28th Precinct, Curry indicated that she believed the NAACP and King had been "boycotting" and "torturing" her. When asked why she stabbed King she replied, "if it wasn't him it would have been me, he was going to kill me." She was committed to Bellevue Hospital for observation and soon found not competent to stand trial.

On October 20, 1958, Curry was committed to Matteawan State Hospital for the criminally insane, where she was diagnosed a paranoid schizophrenic. To this day few people, if any, know of the whereabouts of Izola Curry, of even if she is alive. Surprisingly, journalists who would have ordinarily covered the case in great detail have not covered the entire event more. Few, if any, photographs of Izola Ware Curry exist.

Izola Ware Curry died on March 7, 2015 in Queens New York. She was 98.

Ms. Curry died in a nursing home, the last stop in the series of institutions that had been her home for more than half a century. Her death, confirmed by the office of the chief medical examiner of New York City, was first reported by The Smoking Gun, the investigative website.

The stabbing nearly cost Dr. King his life, requiring hours of delicate surgery to remove Ms. Curry’s blade, a seven-inch ivory-handled steel letter opener, which had lodged near his heart. If he had so much as sneezed, his doctors later told him, he would not have survived.

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Its been 28 years since the passing of the track and field legend, Florence Griffith Joyner aka Flo Jo.

Rest In Power

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Are Black People In Detroit Being Sold Spoiled Food By Arabs
youtube.com/shorts/s-i2frDN7Ww

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She is a mother whose love for Nolan shines through everything she does, and her strength in carrying his legacy forward is. Nolan Wells needs Justices

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Black Women Was Terrorizing By Arabic Men youtube.com/live/YmfB2Pu4LYk?si=4Hq6i3rKdDogBqOd

4 days ago | [YT] | 86

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Houston’s very own Tyra Ferrell!

Tyra Ferrell became a memorable face of ’80s and ’90s Black film and television, known for her strong dramatic performances and natural screen presence. She appeared in a number of important projects from the era, including Boyz n the Hood, Jungle Fever, Poetic Justice, and White Men Can’t Jump. She also built a steady television career with appearances on shows like Hill Street Blues, The Twilight Zone, The Fresh Prince of Bel-Air, and ER. Her roles often brought depth and realism to the stories she was part of, helping her stand out even in supporting performances. With her work across several classic films and television series, Tyra Ferrell remains a respected and recognizable figure from the golden era of late-’80s and ’90s Black entertainment.

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Kevin Bion Spencer
June 30, 1955-September 17, 2026

He is best known as a core member of the prominent 1980s dance-R&B group Dynasty, which helped define the signature “Solar sound” of Los Angeles.

Dynasty Core Member: He tormed the original trio alongside Linda Carriere and Nidra Beard under the guidance of producer Leon Sylvers III and label executive Dick Griffey.
Solar Records Pioneer: He consistently charted hits for Solar Records between 1979 and 1988, including popular tracks like I Don’t Want to Be a Freak (But I Can’t Help Myself)” and “I’ve Just Begun to Love You”.

Collaborator & Songwriter: Beyond Dynasty, he cowrote music and contributed to recordings for legendary labelmates like The Whispers (including the classic “This Kind of Lovin”, Shalamar, Carrie Lucas, and The Sylvers.

Passing: He passed away on September 17, 2026, tollowing a hard-fought illness 🙏🏽🙏🏽🙏🏽

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Lindsay Clancy Case Black Juror Faces Backlash https://youtu.be/JJHMmTozMZs?si=6ZwB0...

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When she died in 1967, Variety didn't run an obituary.

Neither did Jet.

Neither did Ebony.

The first Black performer in major Hollywood studio history died at 54, and the industry she had cracked open could not find one paragraph to mark her passing.

Her name was Nina Mae McKinney.

She had been born in Lancaster, South Carolina on June 12, 1912, and arrived in Harlem as a teenager carrying a presence the press struggled to describe. Nothing in their vocabulary had been built to hold a Black woman's beauty without diminishing it. They eventually settled on comparisons. The Black Clara Bow first. Then the Black Garbo. As if beauty required a white reference point to be legible to the people writing the columns.

She was working as a chorus girl in Blackbirds of 1928, third from the right, when director King Vidor arrived in Harlem looking for actors for his all-Black sound picture, Hallelujah. She had decided this was her moment. So she did what she had learned to do. She made herself impossible to miss, walking back and forth in front of the casting building until Vidor stopped and looked.

He gave her the starring role.

Hallelujah opened in 1929 to strong reviews, and MGM, impressed by McKinney's vivid performance as the seductress Chick, signed her to a five-year contract on May 20, 1929.

She was the first Black performer in history to sign with a major Hollywood studio.

In five years under that contract, MGM gave her two films.

Two.

Hollywood could accommodate Black women in service. As mammies. As maids. As loyal background to white stories. It could not accommodate a beautiful Black woman at the center of a story that asked white audiences to invest in what happened to her.

So Hallelujah became both her greatest achievement and the ceiling she would spend the next decade pressing against from below.

She went to Europe in the early 1930s, where audiences received her with something closer to what her talent actually warranted. She performed in venues that did not require her to reduce herself to fit inside someone else's idea of what a Black woman was allowed to occupy on a stage.

Then in 1935, MGM found a use for her.

She would provide the singing voice that came out of Jean Harlow's mouth in the film Reckless.

Her own face appeared nowhere in the film.

Her name was not in the credits.

That was the five-year contract in full. Two films and a borrowed voice given to a white star in a picture that never showed her face. MGM had signed the first Black performer in studio history and used her accordingly.

She returned to the United States for good in 1939 and worked primarily for Black production companies in films that at least allowed her to occupy the screen fully and completely. The details of her final years are sparse in the record.

What the record does hold is that her influence outlasted her visibility.

Dorothy Dandridge's Carmen in the 1954 film Carmen Jones was patterned directly on McKinney's Chick. The role that had launched her career and then revealed the ceiling of it. The character that had proven she could carry a film, and then shown, in the decade that followed, that Hollywood had no plans to let her prove it again.

She died on May 3, 1967, from a heart attack at Metropolitan Hospital in Manhattan.

Variety did not run an obituary. Neither did Jet. Neither did Ebony. One paper that did acknowledge her passing called her only "an entertainer" and did not name the church where the funeral would be held.

The trade papers had tracked every contract and premiere and casting decision since Hollywood was invented.

They did not find space for the first Black performer in major studio history on the day she died.

Eleven years later, in 1978, the Black Filmmakers Hall of Fame gave her a posthumous award for lifetime achievement. In Lancaster, South Carolina, a mural now carries her face in the town where she was born into a world that had already decided what it owed her.

Fayard Nicholas, who knew what it was to perform in an industry that took Black talent entirely on its own terms, said it plainly.

She could act, sing, dance, and wisecrack with the best of them. But she came along too early, and there was no place for her.

There was a place.

They just gave it to someone else and used her voice to fill it.

Jean Harlow's voice in Reckless is still audible in archival prints today. And that voice belongs to a woman whose name the credits never carried.

Nina Mae McKinney deserved more than a borrowed credit and a silent obituary column.

She deserved the world she helped build.

1 week ago | [YT] | 1,305