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@royalhistsoc.orgOct 2, 2026, 10:35 AM

Applications now invited for the Society's new 'Social History Archive Partnership' bit.ly/4iFNuF0

This offers free 6-month access to content in @socialhistarchive.bsky.social, published by DC Thomson.

The scheme aims to support independent historians who lack access to such resources #Skystorians

@mobhistory.substack.comOct 2, 2026, 10:02 AM

#OTD (Oct 02)
Events in U.S. organized crime #history.

#Detroit #Pittsburgh #BayShoreNY #DearbornMI #KansasCity #FortWorthTX #NewYork #Mafia #MafiaHistory 🗃️ #Skystorians

On this date, Oct 02... • in 1919, gang boss Salvatore Giannola is shot to death in Detroit. In Pittsburgh, Orazio Leone, J.C. Catalano and Philip Catalano are charged as accessories to murder and committed to jail without bail. • in 1921, Tommy Lucchese and John Spina are arrested at Bay Shore NY for auto theft. • in 1926, after spending time in Sicily, mafioso Nicola Gentile returns to New York aboard the S.S. Roma. • in 1930, Frank Catania of Dearborn MI confesses to the accidental fatal shooting of gangster Frank Marino. • in 1931, Coll gangsters are believed responsible for the killing of Dutch Schultz aide Joe Mullens. • in 1963, Joseph Valachi tells a Senate rackets committee that gangster Red Levine admitted a role in the 1931 assassination of Salvatore Maranzano. • in 1974, after reviewing portions of The Last Testament of Lucky Luciano, the FBI dismisses the work as a complete fraud. • in 1994, former Kansas City mafioso Carl J. Civella dies in federal custody in Fort Worth TX. Image of Carl Civella.
@francescomagno.bsky.socialOct 2, 2026, 9:51 AM

#skystorians JOB OPPORTUNITIES FOR POSTDOCTORAL RESEARCHERS, UNIVERSITY OF TRENTO
We are looking for TWO POSTDOCTORAL FELLOWS to join the FluidCurtain team and work on the history of Danube management during the Cold War.

DEADLINE: October 15th, 2026, 12.00 am

t.co/EJmpPwuBDI

@royalhistsoc.orgOct 2, 2026, 8:22 AM

'History and Archives in Practice' 2027: calls for panels now invited for our annual meeting of historians and archivists, with @ihr.bsky.social and TNA. Closing date: 16 October

HAP27 focuses on connecting past and future with sessions on advocacy and applied history bit.ly/3RGHbWy #Skystorians

bit.ly'History and Archives in Practice' (HAP), 2027. Call for participation now open - RHSHistory and Archives in Practice (HAP) is an annual partnership event, co-hosted by the Royal Historical Society, The National Archives, and the Institute of Historical Research. Now in its fifth year...
@ideasroadshow.bsky.socialOct 2, 2026, 8:05 AM

#frescofriday 🗃️ #arthistory #medievalsky #skystorians

@sistoryhistory.bsky.socialOct 2, 2026, 7:55 AM

This intricate statuette of #Herakles - shown with his club and lion skin is exquisite and a wonderful way to start the weekend on this #findsfriday

Hellenistic period bronze.

📸 Us, Archaeological Museum of Corfu

#skystorians #ancientbluesky #AncientGreece #archaeology #classicsbluesky #Hercules

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@ijhs.bsky.socialOct 2, 2026, 7:41 AM

#skystorians #sporthistory 🗃️

📍New article!

"Queering the Sporting Body: Discipline, Desire, and Queer Visibility in Polish Cinema"

by Jie Xiao, Department of Tourism Management, Guangzhou 🇨🇳

Check it out: www.tandfonline.com/doi/full/10....

@iduhouse.bsky.socialOct 2, 2026, 1:21 AM

🎧 Artist of the Day: Amaarae

A voice that blurs genres and boundaries, Amaarae crafts soundscapes rooted in West African rhythm and global experimentation. Her art defies category, blending softness with strength, tradition with innovation.

#CreatorsAtWork #Skystorians #BlackSky #MusicSky #Art

Amaarae sits wide-legged on a plain wooden block against a soft blue studio background, photographed by Jingyu Lin in 2024. She wears a sculpted black leather halter top with silver buckles and draped chains, glossy black leather trousers, and pointed boots that stretch the silhouette almost to the floor. Her straight dark hair falls past her shoulders, and she looks slightly upward and away from the camera with a calm, self-possessed expression. The portrait arrived at a hinge point in her career. Fountain Baby had turned a cult favorite into a global proposition, and its songs were still spreading long after release. Amaarae was closing that chapter with roses are red, tears are blue, preparing to open shows for Childish Gambino and Sabrina Carpenter, and beginning to understand that audiences far outside the Afropop or alté worlds were hearing what she had built. That mattered because her career had started with the opposite message: when she returned to Ghana after school, she was told her cross-pollinated sound would not work and that she should make something more conventionally local. Instead, she trusted the instincts formed across Accra, Atlanta, New Jersey, hip-hop, R&B, pop, punk, dance music, and the African alternative scene. By 2024 she could say that refusing the box had become the point. She described Fountain Baby as proof that something strange and slow-burning could travel across communities, while her live shows still relied more on conviction than giant production budgets. The leather in this image feels almost like armor, but the pose is relaxed. That tension fits Amaarae: softness in the voice, steel in the decision-making. A year later, BLACK STAR would push that confidence toward dance music, Ghanaian symbolism, and a bigger claim to pop stardom. This portrait catches the moment just before that turn, when the future was already visible in the posture. She is between chapters here: no longer emerging but still nowhere near finished becomingClose portrait of a young Amaarae smiling with her eyes closed, wearing round metal-framed glasses, a light blue top, a delicate necklace, and a plaid strap crossing one shoulder. Her hair is clipped extremely short and dyed bright turquoise blue, with a small green patch near the front. Against the pale background, the color becomes the first thing you notice after her smile. The image belongs to Amaarae’s early public era, when hair was not just styling but part of the argument she was making about self-definition. Vogue featured her in 2018 in a story about women reclaiming the buzz cut and credited an Amaarae portrait to Fotombo. Amaarae explained that cutting and coloring her hair felt like taking control of who she wanted to be after growing up around expectations about how she should present herself. She knew some more traditional observers in Ghana read her appearance as transgressive, even “demonic,” and took the discomfort as evidence that the choice was doing something useful. At the time she was still building the foundation of her career. Passionfruit Summers, released independently through Golden Child, had introduced her atmospheric R&B and electronic sensibility; the 2018 “Fluid” video, shot in Accra and directed by Fotombo, extended that work into a vivid visual world of colored water, flowers, and gender-fluid beauty. Her hair kept changing too: blue, pink, rainbow, polka dots, split colors. The point was never one signature look. Change itself became the signature. That early insistence on visual freedom matters when looking at Amaarae now. The artist who once used a dyed buzz cut to push against local expectations would later build entire album worlds out of latex, Ghanaian national imagery, cyberpunk styling, and club culture. The smile in this photo makes the history feel light, but the choice underneath it was serious: before Amaarae asked pop music to make room for her sound, she practiced making room for herself. Freedom became the languageAlbum cover for Amaarae’s 2025 record BLACK STAR. The image is divided into three broad horizontal fields of red, gold-yellow, and green, echoing the Ghanaian flag. Amaarae sits at the center in a glossy black latex bodysuit and pointed heels, leaning back on one arm with one knee raised and the other leg extended toward the viewer. Her body occupies the yellow middle band where the flag’s black five-pointed star would normally appear. The substitution is deliberate. Amaarae has explained that the title is a triple entendre and that she did not simply want to wave Ghana’s flag from a distance; she wanted to become the symbol. Ghana’s Black Star has long stood for African freedom and unity, and Amaarae turns that national icon into a self-portrait of diasporic pop ambition. The music makes the same move. BLACK STAR pulls from Ghanaian azonto, kpanlogo, hiplife, and highlife while colliding them with Detroit ghettotech, Chicago house, Jersey club, Euro trance, Brazilian baile funk, South African bacardi, zouk, and the pop memories she carried from childhood. Amaarae has said that fusion is her strength and that her version of Ghanaian influence may not always arrive through the instruments listeners expect. Sometimes the rhythm survives while the sound source changes. That refusal to perform “Africanness” in a predictable way is central to the cover too. She is visibly Ghanaian, visibly Black, visibly fashion-forward, and still impossible to reduce to a national genre box. By this era, she was describing herself plainly as a pop star, while also challenging an industry that too often reserves that category for white women. The latex figure at the center of the flag therefore reads as more than glamour. It is placement. Amaarae is saying that experimental African music does not belong at pop’s margins. It can stand in the middle, occupy the emblem, and define the picture. In the cover, nationalism becomes personal, diasporic, fashionable, and future-facing all at onceAmaarae performs at Coachella 2025 under deep red stage light, both arms lifted outward as if opening the room around her. She wears black leather shorts and a structured black leather jacket-corset covered across the shoulders, collar, and chest with rows of sharp silver spikes. Her hair is pulled back, a microphone rests in one hand, and a huge pale screen glows behind her, making the black outfit read almost like armor. The image comes from Coachella’s second weekend, when Amaarae returned to the Gobi stage on April 20 in a spiked variation of the leather look she had worn during weekend one. The timing gives the clothes extra meaning. One week earlier, during her first Coachella set, she had become the first Ghanaian artist to perform a solo set at the festival, played a run of Ghanaian songs and unreleased BLACK STAR material, then had her long hair cut onstage while declaring, “I’m finally free.” She told reporters that one of her proudest choices was using the set to put Ghana on the map and described coming out in all black as embodying the Black Star on Ghana’s flag. Weekend two sharpened that idea visually. The spikes turn the leather from sleek to confrontational, while the open-armed pose makes the armor feel less defensive than declarative. This was also a turning point in scale. Fountain Baby had taken her from alternative favorite to international touring act, but Coachella made the ambition public: she was not asking to be understood only as Afropop, alté, or an African crossover story. She was announcing a pop-star frame large enough to hold all of it. BLACK STAR would arrive months later with Ghanaian dance histories, global club music, and community at its center. Seen from that later vantage point, this photograph feels like the exact moment the next era became physical: Ghanaian pride, punk aggression, fashion, performance, and pop spectacle fused into one body onstage. The spikes make that message visible before even one note reaches the crowd
@avemalakoff.bsky.socialOct 2, 2026, 1:08 AM

Both Louis XIII and Anne of Austria had STRONG Habsburg genes but in Louis XIV and his entire line of descendants, no Habsburg features ever appeared. For more info read my book *Second Son* by Madry. #skystorians 394 pages of results of extended, careful research in France.

@avemalakoff.bsky.socialOct 2, 2026, 1:08 AM

Louis XIV looked just like the male children born of the union of François d'Auger de Cavoye, Richelieu's chief of guards, and his wife Marie. He looked nothing like any other members of his Bourbon/Medici family and none of his children had Habsburg attributes. #skystorians

@kefauver4prez.bsky.socialOct 2, 2026, 12:17 AM

The family that campaigns together stays together!

Estes and Nancy Kefauver with daughter Eleanor (later Lynda) and son David at a campaign rally in Nashville on the eve of the 1948 Democratic Senate primary.

#skystorians #history #polsiky

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@davidrafferty.bsky.socialOct 1, 2026, 11:06 PM

Q for #skystorians

War is brutalising, and longer=worse. 1792-1815 was a long war. How brutally violent was it? Away from the battlefield.

Not: people shot guns. But: comparative to 17C/20C more-brutality. And comparative to 18C/19C peacetime less-brutality (at least in Europe itself).

@smschober.bsky.socialOct 1, 2026, 8:05 PM

Next week! #skystorians

@verbumlibere.bsky.socialOct 1, 2026, 7:40 PM

Where did #Halloween really come from? 🎃 Its origins are more complicated than the familiar story of Samhain. Explore the seasonal customs, Christian traditions and changing beliefs that gradually shaped the Halloween we know today.

#skystorians #history #historysky #christianity #fall #october

@footnotesinhistory.bsky.socialOct 1, 2026, 6:44 PM

#OTD in 1944, the Seattle Times reports on an incident involving boy's breaking into the belongings of former Japanese American residents. The boys snuck into a storeroom at a Japanese-owned hotel and broke into several personal trucks. The boys were apprehended by local police.
🗃 #skystorians

"Prowling Boys Find Suspected Jap Propaganda" How 15 Seattle boys, 8 to 14 years of age, spent four days prowling a little-used storeroom of a Japanese-owned hotel at 306 Sixth Ave. S., and uncovered a cache of what police believe may be pre-Pearl Harbor Japanese propaganda, was disclosed by juvenile authorities here yesterday The youngsters finally were apprehended when A. J. Holben, manager, became suspicious of recurring strange noises he heard coming from the back of the hotel. When he investigated he found the boys using an ax to break open the stored trunks of evacuated Japanese.The bovs fled, but several were arrested by police a few blocks away. Questioned by Capt. G. W. Kimball, head of the Junior Safety Division, the captured youths implicated their companions The boys related to Kimball lurid tales of findine Japanese literature, machine-gun bullets, cartridge belts and rolls of film. Detective Lieut. C. E. Neuser, head of the national defense detail, reported the film was of a "highly questionable nature,'' and that a further investigation of it will be necessary. The ammunition and cartridge belts were found to be of American manufacture, and Neuser said the literature was "harmless" and consisted mostly of American-published books. The Seattle Times, October 1, 1944
@dbellingradt.bsky.socialOct 1, 2026, 3:57 PM

This whale is a tiny, well, big detail, in a map of the world from Edward Wright (1610). And you, #skystorians, may find a digital copy of the map over here: collections.library.yale.edu/catalog/2035...

@johnokeefe.bsky.socialOct 1, 2026, 2:48 PM

Prepping some other materials and re-found this gem: A Chinese description of the #brooklynbridge with an illustration made by someone who only looked at the description. Love the #minarets which, from an 1892 Chinese perspective, are a generically "foreign" architectural element #skystorians

bridge crossing river diagonally, with minarets at left and center. land at far end appears mountainous