1. Go home, Don.

    (Source: jessehimself)

     
  2. jessehimself:

    mitsurugireiji:

    mark duggan was the young man shot to death by the met police here in london, and whose murder, now ruled controversially as ‘legal’, sparked the summer riots a few years back.

    Look how they do us.

    (Source: xbeatrce, via 654am)

     
  3. bremser:

    Oscar Grant’s photograph of Johannes Mehserle

    Oscar Grant’s photograph of transit police officer Johannes Mehserle is rare: a portrait of the photographer’s killer. Unlike the recent photograph that a politician captured in the Philippines, Grant’s photograph, taken moments before Mehserle shot him in the back, was intentional.

    Much of the media attention given to the Oscar Grant case focused on a handful of videos made by other passengers on the BART train, some of which show Grant being shot. While being detained by BART police, Grant called his ex-girlfriend Sophina Mesa twice from the platform. During this time he also took the photo of Mehserle and sent it to Mesa. Grant’s photograph of Mehserle did not get as much coverage as the videos, as it wasn’t released until the trial began.

    Grant’s photograph raises an important issue that faces every American: the right to photograph, videotape and document while being detained or arrested by the police. Many of us assume we have this right, but with existing wiretapping laws, you can still be arrested and your camera confiscated. Radley Balko’s Reason.com article “The War on Cameras” is essential reading on this subject.

    Demian Bulwa is a reporter and editor for the San Francisco Chronicle, who has covered the Oscar Grant case since the shooting, through the entire Mehserle trial. I asked him a few questions over the phone about this photograph.

    How did the prosecution and defense use this photograph as evidence in the trial?

    Both sides used flat screen TVs, multimedia, everything was timed and choreographed. It seemed they felt they might lose credibility if they weren’t sharp with multimedia. At times the arguments felt like PowerPoint presentations. There were photos, quotes, videos, video of the Taser training.

    It was used by prosecution to show two things: 1. that he [Mehserle] knew his Taser from his gun, that he had actually taken out his Taser twice, that he knew full well between the two weapons. 2. That Oscar was being abused and was concerned about it.

    It was one of many pieces of evidence. It’s part of the puzzle, and hard to tell which ones stuck with the jury.

    What facts were presented about the photograph, when it was taken? Did he take it while face down, turning around?

    Grant was sitting on the ground. The guys were sitting on the edge of the platform for a while. He wouldn’t have had the opportunity in the last moments, the officers were on top of him, with his arms behind him.

    Was there any suggestion by either side that taking this photograph provoked Mehserle, or was some form of resisting arrest?

    I don’t recall.

    Based on the evidence in the trial, and your own speculation, why do you think Oscar Grant took this photograph?

    Most likely he was documenting unfair treatment. He said something to his girlfriend [during the phone call], like “I’m getting beat up here.” It was a way of documenting that, and putting Mehserle on notice. If you take a picture of someone you are saying: I’m watching your behavior. You’re accountable. You are expressing your concern and putting them on notice.

    Reblogging again.

    (via permanentexhibition)

     
  4.  
  5. mediamattersforamerica:

    Fox News host Eric Bolling asked 13-year-old Little League World Series champion Mo’ne Davis why she doesn’t play a “more female friendly sport like soccer.”

    Asshole.

    (via 654am)

     
  6. darksilenceinsuburbia:

    Richard Mosse
    Madonna and Child, North Kivu, Eastern Congo
    2012
    Digital C print
    35 x 28 inches

     

  7. "Critics generally don’t associate Black people with ideas. They see marginal people; they see just another story about Black folks. They regard the whole thing as sociologically interesting perhaps, but very parochial. There’s a notion out in the land that there are human beings one writes about, and then there are Black people or Indians or some other marginal group. If you write about the world from that point of view, somehow it is considered lesser. We are people, not aliens. We live, we love, and we die."
    — Toni Morrison (via blackcontemporaryart)
     
  8. "Thanks for asking that, Terry, because yeah, I get depressed. I get depressed that I wasn’t on American Idol. I could sing."

    Robin Williams on Fresh Air (2006)

    This brought me so many laughs. 

     

  9. (Source: Spotify)

    Tagged #music #spotify
     
  10. blackgirlstalking:

    lightsandcamera:

    Iconoclasts: Maya Angelou and Dave Chappelle (2006)

    part 1

    part 2

    part 3

    part 4

    There are no words that could better describe the magic Dr. Maya Angelou bestowed upon the world better than her own so I won’t try. I just want to remember Dr. Angelou’s spirit and her gentle genius which is on full display in this episode of Iconoclasts with Dave Chappelle. She was, and will forever be, love personified.


    Alesia

    This was perfect.

    (via 654am)

     
     
  11. permanentexhibition:

    feministblackboard:

    Maya Angelou

    End of story. 

    (Source: feminist-blackboard)

     

  12. "It seems to me that real sexism is a newly delivered message. Black women and black men know that we were stolen and sold together on the African continent. We lay spoon fashion in the filthy hatches of slave ships together. We stood upon the auction block together, were sold together again, took the lash together. There’s no question of superiority. We have survived somehow together."
    — Maya Angelou, in I Dream A World
     

  13.  
  14. art21:

    "I don’t think that my work is actually effectively dealing with history. I think of my work as subsumed by history or consumed by history." —Kara Walker

    New episode from Art21’s Exclusive series: An in-depth look at the creation of Kara Walker’s monumental public project for Creative Time, A Subtlety, or the Marvelous Sugar Baby (2014), at the Domino Sugar Factory in Brooklyn, NY.

    WATCH: Kara Walker: “A Subtlety, or the Marvelous Sugar Baby”

    IMAGES: Production stills from the Art21 Exclusive episode, Kara Walker: “A Subtlety, or the Marvelous Sugar Baby”. © Art21, Inc. 2014.

    (via blackcontemporaryart)

     
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