The film has been overwhelmingly hailed as a “defining moment” in African American and movie history for featuring an almost entirely all-black cast, directed by an African American director, with a screenplay by black writers (Coogler and Joe Robert Cole). Such praise, however, only testifies to the general degradation of art, culture and film criticism in contemporary America. The film’s supposed achievements do not save it from being a vacuous work, which does not withstand a moment of serious reflection.
For more go to wsws.org (link in bio)
i don’t know all pain
may not know your pain
century long things or
even a bit of short pain
flu shit like we caught pain
bruised hips that stay behind the gordyn
the mindset that we’re in now
is like my pain is the best pain
kind less -
like fuck all of the rest pain
pain is glaring
and pocs are comparing
homie, i’m getting chest pains
archetype of who has the most pain
identities pile up
like what’s the overall gross pain?
the highest gdp
like we’re trying to boast pain
5 star ratings
are we trying to host pain?
it’s drought time flagrance
now we’re trying to hose pain
do we even know pain?
we care for it like a child
like we’re trying to grow pain
send it off to school
and watch it grow old pain
if you know bougie people who say they’re intersectional
that’s them soeking for their own fame
queer black woman:
struggles with anxiety
got a macbook
sipping drinks at yt
poor coloured man
who struggles with the hiring fee
buying loose entjies
approaching like, “can i get a light please?” one tick
on the pain ladder
are you higher than before?
does pain matter
when you’re dying for some more?
One of my faves at the NGV. Edson Chagas is a phenomenal photographer from Angola. "Tipo Passe is a series that addresses questions of history, culture and identity. The artist’s birthplace of Angola was subjected to colonial rule by the Portuguese from 1575 until independence in 1975. The local population’s culture and traditions were largely disregarded and ‘unseen’ by the European colonialists. The striking masks depicted here are borrowed from private collections in Angola: removed from their original context, they are stripped of their meaning and transformed into decorative objects, hiding the identities and individual characteristics of the sitters." This info is from the ngv website
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Part 2 "The people who hold this doctrine—this radical, postmodern, communitarian doctrine that makes racial identity or sexual identity or gender identity or some kind of group identity paramount—they’ve got control over most low-to-mid level bureaucratic structures, and many governments as well.”
Check out Jordan Peterson's articles and Twitter . Quite a sensible and composed guy :)
🏵 🏵 🏵 Front Line Feminism is a collection of over 80 essays from two decades of news, analysis, interviews, reviews, and letters from one of the nation's oldest and largest women's newspapers, Sojourner: The Women's Forum. These articles are a microcosm of the lively and committed debates around some of the key issues of second-wave feminism: identity politics, economic injustice, politics of the family, reproductive freedom, women's health, sex and sexuality, violence against women, and building alliances. This anthology is a must for everyone interested in a wide-ranging overview of the contemporary U.S. feminist movement and an in-depth analysis of the issues. 🏵 🏵 🏵
Find Front Line Feminism for purchase here: https://www.auntlute.com/frontline-feminism
I find this resurgence of men's rights activism fascinating. In my view, the attention and popularity of the idea that men are now the victims of modern society (instead of women) is a direct result of the lack of class based thinking around oppression. Capitalism's dominant paradigm is one of competition, dividing individuals and groups and placing them against one another. The ability to think systemically is greatly reduced under this paradigm. Thus, some oppressions are deemed more vid than others, or they are pitted against each other in order to procure resources from a restricted pool. Class, on the other hand, allows to see how all oppression, including sexism and the griviences raised my MRAs, stems from the same root. This is a much more viable platform for solidarity than the identity-based organizing that we witness predominantly today.
“Liberals have become America’s ideological third party, lagging behind self-declared independents and conservatives, even among young voters and certain minority groups.” .
Only 10 pages in and already so into this quick read. Such an important perspective and one we should all wish the @democraticparty was coming around to. #identitypolitics#individualism#sharedvision#commutereads 🇺🇸📖
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"If you're, let's say, a three year old kid. And from the age three to fifteen you only see white people on television. And the only black people you see are the people who die first in a movie and that are the black token friend and that are stupid... If you see that from the age three to fifteen, that's gonna be your representation of black people. Without anyone having to tell you what black people are." words by @sydneyjlowell
still from 'get me back home'
(link in bio)
Obviously this weekend was about the cultural milestone that is Black Panther. Commercial success aside (its plowing through most of the US records) what an incredible and empowering re-imagining of an African nation by a black director. What a fantastic talent offering by a mostly black cast. Everything about this movie was just really cool and the humour that suffuses the dialogue in the Marvel Universe was the cherry atop a really good cake. I watched the movie with a group of women who loved the positive portrayal of a society on the African continent! Not to say Africa doesn't have its social ills but oh how uplifting to go to the movies and see a WHOLE bunch of people like us being badass! To see women like us portrayed as smart and fierce and funny. Siiiigh 😍👏🏾
Barkley L. Hendricks, Sweet Thang (Lynn Jenkins) (1975-76). Barkley L. Hendricks’ socially charged work has spanned drastically diverse cultural climates, from the Black Power movement of the 1960s through the election of the United States’ first black president. While touring European museums in the ’60s, a 21-year-old Hendricks was so stricken by the lack of black presence in paintings of the Old Masters that he began his now best known work: life-sized paintings of urban black men (originally subjects from his hometown of Philadelphia) in empowered, classical depictions. Hendricks became a pioneer of black portraiture that pairs art history with questions of personal identity and cultural heritage, championed today by artists like Kehinde Wiley. Though primarily a painter, Hendricks credits photography as a key to his practice, which he studied under Walker Evans and often uses as reference to create his stunning, photorealisticportraits.
#American#Philadelphia , #Pennsylvania#IdentityPolitics#RacialandEthnic#Identity#Hyperrealism#20thCenturyArt
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For the last couple of weeks I've wholeheartedly worked on a little something special😄
And I've been lucky enough to meet amazing women on the way ✨
Thank you so much for your energy, openness and inspiration ❤
The link to my short film 'get me back home' is in the bio 🙌