Word: negroness
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Wine makers across Europe and America are helping to quench demand for the real thing by duplicating la méthode champenoise. Two Spanish brands, Freixenet and Codorniu, have been produced according to the French technique since the 19th century. Freixenet's Cordon Negro, known for its distinctive black bottle, and Codorniu's Brut Classico both sell for about $6, yet critics have compared them favorably with French brands costing twice as much. Freixenet's shipments to the U.S. have grown from 540,000 bottles in 1979 to an estimated 9 million this year...
...Just arrived from Botany-Bay," ran a newspaper advertisement in 1789, "three new live animals for the amusement of the public, with that 3 singular animal the African Savage, a noble Lion and Lioness, a pair of 3 beautiful Leopards, a Lynx, a Sangwin, the Arabian nightwalker ... the Spotted Negro attends from eleven to seven in the evening...
Stubbs painted quite a few such marvels (though not, alas, the Arabian nightwalker or the Spotted Negro). He portrayed lemurs, monkeys, a rhinoceros and several leopards, and foreign animals gave him the pretext for two of his greatest images. One of these was a painting of a cheetah that had been sent to London as a gift to George III from a former governor-general of Madras. It is a marvel of detached observation. In straightforwardness and dignity, unblemished by caricature, the heads of the animal's two Indian handlers rank with Rubens' famous studies of an African...
Your story on black actors [CINEMA, Oct. 1] suggests that D.W. Griffith purposely avoided using blacks in Birth of a Nation. As evidence you cite the fact that the major Negro roles were all played by whites in blackface. The reason is that in 1915 there were no black actors in Hollywood experienced enough to play these parts. In the interest of realism, Griffith would have hired them if he could have found them...
...history indicates, it could be worse, and it has been. In D.W. Griffith's The Birth of a Nation (1915), the major Negro roles were played by whites in blackface. Hollywood's first black star, Stepin Fetchit, fitted the stereotype of the slow, sly, shuffling Negro. Meanwhile, the industry mostly ignored Paul Robeson (too strong, too smart, too sexy, too damned uppity) and denied Lena Horne her best potential movie roles, as the mulatto heroines of Pinky and Show Boat, handing the parts instead to Jeanne Crain and Ava Gardner. It was not until the rise to stardom...