THE BLONDS FOR THE JEM MOVIE NEEDS TO HAPPEN. That is all. #hologramsorbust
On the morning of September 4, 1957, fifteen-year-old Dorothy Counts set out on a harrowing path toward Harding High, where-as the first African American to attend the all-white school – she was greeted by a jeering swarm of boys who spat, threw trash, and yelled epithets at her as she entered the building.
Charlotte Observer photographer Don Sturkey captured the ugly incident on film, and in the days that followed, the searing image appeared not just in the local paper but in newspapers around the world.
People everywhere were transfixed by the girl in the photograph who stood tall, her five-foot-ten-inch frame towering nobly above the mob that trailed her. There, in black and white, was evidence of the brutality of racism, a sinister force that had led children to torment another child while adults stood by. While the images display a lot of evils: prejudice, ignorance, racism, sexism, inequality, it also captures true strength, determination, courage and inspiration.
Here she is, age 70, still absolutely elegant and poised.
she deserves to be re-blogged.
she’s so goddamned inspirational
oh my god the poise
She’s only fifteen in the top pictures, but damn does she look hard. You just see it in her eyes.
MADONNA + SEAN #secretprojectrevolution
PLEASE REBOLG THIS! We need this film to happen. Please, watch and spread the word. My daughter and her father’s family are from this reservation. People need to know what really happens on native land.
This is too real
Yes, this post is more fitting for Zellainist, but I’ll post it there after this.
Before moving to Arizona I had very little knowledge of reservation lands, the conditions or the politics surrounding tribal law. (The most I had heard about it was stories from when my dad was growing up going to school with kids that bullied him for not being native enough because his dad was white.)
Since moving from California to Arizona native lands and tribal politics has become something impossible to ignore. A good portion of the area I live in now is tribal land with tribal owned businesses, casinos and strip malls. Anytime you hear non-native people here talk about the goings on with those shopping centers, trying to figure out why they’re empty or why construction has been halted, the general white-whine consensus is that the native’s “shouldn’t be so greedy” and “should just agree to let businesses in already.” (Oh, I fucking hate living in such a conservative area, believe me.) Despite the fact that they aren’t being offered the same benefits for doing so as the city run businesses in the area.
Conditions on native land in this country are really depressing and politics relating to them are messy, unfair and generally awful.
I would love to see this film made because it’s important to be made aware of things like this so we can work to improve these situations.
Turns out Suzy Menkes isn’t the only person with thoughts about all the bloggers and street-style stars armed with cameras outside fashion shows. In Take My Picture, a new minidocumentary created by Garage Magazine, a variety of people in the fashion industry — from critics and stylists to designers and even bloggers themselves — address the phenomenon.
Tim Blanks is perhaps the most vocal person in the video, even though he says he initially found it “charming … for so many different kinds of people to be so enthusiastic about fashion.” Now, he’s just had enough.
“It’s empowering, but it’s empowering in the way that reality TV has been empowering,” Blanks says in the video. “It makes monsters. It doesn’t make gods; it makes monsters. It’s coarsened, but that’s always the process, isn’t it — with everything? You can’t think of any leap forward that didn’t at some point become a parody of itself. But then what happens next?”
And while some of the people in the video agree that the throngs of people outside shows have gotten to be a little too much, others defend street-style photography and the growth of blogging as having redeeming qualities.
“Of course now it’s one of the strategies,” says Vika Gazinskaya, an oft-snapped Russian designer who first started showing her brand in 2007. “And as I always say, it’s a great opportunity for young designers who have no budget for advertising. It’s the best way, of course.”
A look at what others from the industry, including Tommy Ton, Susanna Lau, Phil Oh, and Hanneli Mustaparta had to say on the matter in the video above.
Nancy Sinatra & Lee Hazlewood — Summer Wine - 1967
Alain Resnais & Chris Marker
Les Statues Meurent (Statues Also Die), 1953.
NOTE: Click CC button to add English subtitles. Go to properties to change font size.
Director: Alain Resnais & Chris Marker
Narrator - Jean Négroni
Music - Guy Bernard
Description: Statues Also Die traces the devastating impact of French colonialism on African art. As Resnais’ co-director, Chris Marker, stated, “We want to see their suffering, serenity, humor, even though we don’t know anything about them.” Their film shows what happens when art loses its connection to a culture. Consequently it was banned in France for 12 years.
Statues Also Die (French: Les Statues meurent aussi) is a 1953 French essay film directed by Chris Marker and Alain Resnais, about historical African art and the effects colonialism has had on how it is perceived. The film won the 1954 Prix Jean Vigo. Because of its criticism of colonialism, the second half of the film was censored in France until the 1960s.
The film exhibits a series of sculptures, masks and other traditional art from Sub-Saharan Africa. The images are frequently set to music and cut to the music’s pace. The narrator focuses on the emotional qualities of the objects, and discusses the perception of African sculptures from a historical and contemporary European perspective. Only occasionally does the film provide the geographical origin, time period or other contextual information about the objects. The idea of a dead statue is explained as a statue which has lost its original significance and become reduced to a museum object, similarly to a dead person who can be found in history books. Interweaved with the objects are a few scenes of Africans performing traditional music and dances, as well as the death of a disemboweled gorilla.
During the last third of the film, the modern commercialisation of African culture is problematised. The film argues that colonial presence has compelled African art to lose much of its idiosyncratic expression, in order to appeal to Western consumers. A mention is made of how African currencies previously had been replaced by European. In the final segment, the film comments on the position of black Africans themselves in contemporary Europe and North America. Footage is seen from a Harlem Globetrotters basketball show, of the boxer Sugar Ray Robinson, and a jazz drummer intercut with scenes from a confrontation between police and labour demonstrators. Lastly the narrator argues that we should regard African and European art history as one inseparable human culture.