"Decades of antilynching activism and testimony from victimized black families did not move the nation’s leaders at the last turn of the century, and today they are not the inspiration for the Senate’s historic gesture or for the majority of lynching scholarship. Instead, white-authored photographs have become the evidence that simply cannot be ignored. Granted, this is partly out of the spirit of letting the murderers condemn themselves. As art historian Dora Apel argues, “the loss to historical understanding incurred by refusing to see [these pictures] would only serve to whitewash the crimes of white supremacy” (6). But this reasoning does not change the fact that when we treat images of mutilated bodies as the ultimate evidence of lynching destruction, we reaffirm the authority of the mob. Ultimately , it is because they come from white perpetrators themselves that we have allowed the images to continue to trump testimony from victimized communities. By treating the pictures as records, we pretend that they offer an objective view, that they are less biased than the testimonies of those targeted by this terror. But the pictures are anything but objective. They represent a particular perspective, and they helped the mob to accomplish its work, during and long after the victim’s murder. The photographs did not simply document violence; they very much perform(ed) it."
Irma (short film)
Irma Gonzalez is an old ‘luchadora’ (female wrestler) who bears the marks of a life spent battling in the ring, performing daredevil moves. Every day she goes to the gym to rehearse the moves that made her a star. Children watch her curiously. Somewhere in the distance, a song plays: Irma was once a singer, too. In her memory, grainy images of old television clips flicker. Shot in Mexico City, the film is a tender portrait of the multi-talented luchadora and an unusual meditation on athleticism and aging.
Interview with director of Irma, Charles Fairbanks.
There’s a relationship between colonialism and slavery which says, “well it’s the land that makes this possible.” But it doesn’t. Land only makes productive labor possible. But if you understand that slavery is not reducible to labor relations, that slavery is already a property relation – a lucrative one – before any work happens or whether any work happens, then you understand that land is not necessary for slavery. First and foremost because of the Middle Passage. Not a square foot of land in sight, but slavery happening on the high seas. So if we start from that understanding we can see, not that they’re unrelated, or that we can think one exclusively, but that we better situate their actual relations.”
why this will be my 1st tattoo
"Black girls don’t get told we are beautiful enough. Black girls aren’t always told we can be princesses. Cute, sweet, innocent, pure- these are not words black girls often hear associated with us. Fast, sassy, mouthy, too grown, angry, aggressive- those are the words that get shot at us like darts. Black girls are not girls- we are mini women who are forced to be strong. You must tell black girls they are beautiful, innocent, sweet, magical. You must treat black girls as girls. Then, you can talk about black girl characters whose looks and femininity doesn’t matter. Otherwise, you are just maintaining the status quo- denying black girls our beauty and femininity."