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Tag Archives: blackness
by mimi thi nguyen | July 8, 2010 · 4:49 pm
Mary Sibande
Inspired by the explorations of race, gender and sexuality in the work of American artists Kara Walker and Cindy Sherman, and London-based Nigerian artist Yinka Shonibare, Mary cast her own body in fibreglass and silicone to create Sophie. She then painted her a "flat black," so that she stands out like a dark and static shadow … Sophie's eyes are always closed as if in a "constant ecstasy of fantasy" and it's in her mind that her dress becomes a thing of voluminous Victorian splendour. "If she opened her eyes, it would be back to work – cleaning this, dusting that. Her dress would become an ordinary maid's uniform," said Mary.
– Elle Decoration ZA (Cited at M. Dash)
The body, for Sibande, and particularly the skin, and clothing is the site where history is contested and where fantasies play out. Centrally, she looks at the generational disempowerment of black women and in this sense her work is informed by postcolonial theory, through her art making. In her work, domestic setting acts as a stage where historical psycho-dramas play out.
Sibande's work also highlights how priviledged ideals of beauty and femininity aspired to by black women discipline their body through rituals of imitation and reproduction. She inverts the social power indexed by Victorian costumes by reconfiguring it as a domestic worker's "uniform" complexifying the colonial relationship between "slave" and "master" in a post-apartheid context. The fabric used to produce uniforms for domestic workers is an instantly recognizable sight in domestic spaces in South Africa and by applying it to Victorian dress she attempts to make a comment about history of servitude as it relates to the present in terms of domestic relationships.
— Gallery MOMO
Filed under (AD)DRESSING GENDER & SEXUALITY, FASHIONING RACE, LABOR AND THE CREATIVE ECONOMY, ON BEAUTY
Tagged as art, black femininity, blackness, domestic labor, fantasy, Mary Sibande
by mimi thi nguyen | January 25, 2010 · 11:02 pm
LINKAGE: "Fear of a Black Venus"
I'm thrilled that my friend and colleague Isabel Molina Guzman has entered the blogosphere with Color (Re)adjustment, an extension of her valuable scholarship on race and representational politics. In her words, Color (Re)Adjustment (an homage to the late great filmmaker and educator Marlon Riggs) hopes "to disrupt the burden of representation by stepping outside of a commitment to respectability; to move conversations outside of the confining dichotomy of the positive and negative image debate."
Her thoughts on the mind-boggling controversy over Venus Williams' tennis shorts at the Australian Open are absolutely right-on. That some commentators might believe or suggest that Venus Williams would perform without underwear in a global arena –examining closely, and inviting others to do the same, photographs of Venus's backside to try to discern exactly what they might (or might not) be seeing– seems continuous with long histories of discourses and practices of scrutiny and surveillance aimed at black female bodies.
In Spectacle of the Other Stuart Hall writes, "Representation is a complex business and, especially when dealing with 'difference', it engages feelings, attitudes and emotions and it mobilizes fears and anxieties in the viewer, at deeper levels than we can explain in a simple, common-sense way." So I ask you, in a world where women tennis stars are paid millions to wear as little as possible on the courts, what is underlying the public hysteria surrounding Venus Williams 2010 Australian Open outfit, an outfit that she designed for herself under her label?
It appears that the spectacle of the black female bootie threatens the spectra of upper-class respectability surrounding the predominantly white sport of tennis, a sport that has only had two black elite female stars in the last 20 years — Venus and Serena Williams. What I find truly humorous and troubling is that tennis fans and the mainstream media find it plausible that one of the world's best women's athlete would actually go on international television flashing her butt and vagina. What does this say about the contemporary representational status of black urban femininity and sexuality?
Filed under FASHION-INDUSTRIAL-STATE COMPLEX, FASHIONING THE HUMAN, LINKAGE
Tagged as athletes, black femininity, blackness, Isabel Molina Guzman, panties, Venus Williams
by mimi thi nguyen | November 27, 2009 · 11:10 pm
Radio Silence + Some Noise
Apologies for the recent radio silence — I'm suffering a terrific head cold as well as ever-anxious anticipation for my manuscript workshop this week. Being ill has been something of a relief, quite frankly, as it feels like a legitimate reason to stop working for at least a little while. (Or to do other work, though I have my cat Morton to do my laundry for me!) I've actually taken a bit of a break from the Internets –except for vintage shopping on Etsy!– but here are a few things I've enjoyed reading in the last week or so, while Minh-Ha has been on a research trip.
Queer novelist and performer Michelle Tea is blogging for the San Francisco Museum of Modern Art now, and in her latest missive she ponders the return of possibly regrettable fashions past:
I don't know if I am ready for creepers to make a comeback, even in the form of a boot, even if the boot comes with a leather faux-sock poking over the top, even and especially if it comes hung with a couple of decorative boot-belts. And even if they are designed by Alexander Wang. But you know, even as I type this, looking at the boots in their buttery lighting at Barneys, where they live, I am starting to have second thoughts. Maybe they are actually the greatest things I've ever seen. Sometimes being repulsed by a piece of fashion is a signal that I'm about to be obsessed with it.
It seems that the Internets is spitting up reflections on the impact of fashion bloggers these days (we're no exception), especially with Style Rookie Tavi's skyrocketing interplanetary profile as both model and muse. Imran Amed from The Business of Fashion offers this new social media reality check to industry insiders, while Evil Monito's Lindsey Ibarra chimes in with some thoughts on the increasingly blurred divisions between insider/outsider status, as well as shifting measures of expertise, especially apparent as amateur fashion bloggers appear to replace professional stylists:
As the fashion blogosphere has grown it's become packed with new voices, talents and faces. Through its evolution it has become clear that in order to be a valid blogger one must be a visible blogger and in turn the World Wide Web has been flooded with boys and girls eager to show themselves off to the rest of the world. No longer is it just about the clothing; suddenly it's also about a face wearing the clothing, and yet I suppose in some ways it always has been. When supermodels ruled the world their faces were just as important (if not more so) as the clothing they were modeling but the added element of worldwide exposure at the click of a button has created an entire generation of "I'm famous on the Internet" icons.
Next, there be black dandies all over! Jezebel covers the recent release of photographer Daniele Tamagni's Gentlemen of Bacongo, documenting the phenomenon of sapeurs, or the Congolese subculture of dandies. I'd been worrying at this postcolonial knot of politics and desires since I read a few months earlier Patty Chang's review at Fashion Projects of George Amponsah and Cosima Spender's documentary The Importance of Being Elegant. Chang's comments are insightful:
Watching this documentary, it's unavoidable to draw parallels to the image of 'bling-bling' culture propagated by new school hip hop. The projection of cool by emulating the conspicuous consumption of elites, and the impersonation of success and fashionability, rather than the projection of a sense of depravation are traits shared by both subcultures. Indeed, Amponsah and Spender seem more inclined to portray the phenomenon of la Sape in a similar vein to the glorification of material excess found in hip hop culture. The inherent paradoxes of poor unemployed urban youths who hustle to be able to wear designer duds or footage of Papa Wemba trying on garish fur coats by Cavalli, all seem to confirm this.
Yet, la Sape has a history that is far older than this documentary suggests. Originating in Congo-Brazzaville in the 1930s, the movement's inspiration (though often disputed) draws reference from the archetypal dandies of modernity as well as Western films of the 1940s and 1950s, especially those of mobster, black and white thrillers, and the Three Musketeers. The sapeurs of Brazzaville were mainly composed of lower middle class young men, high school drop outs, and later, disenfranchised youths. Observing a strict three color rule, their austere elegance became a method to cope with colonialist hegemony and assimilation policies, as well as a way of subversion and resistance. In addition, the acronym la Sape plays on the French term for clothing and points to the fascination with their colonizers. The sapeurs of Brazzaville preached a conservative style that focused on cleanliness and absence from using hard drugs. Through the cultivation of clothes, they sought to define their social distinctiveness while deriving pleasure in admiring themselves, somewhat akin to what Pierre Bourdieu has called a 'strategy of self-representation'. Fashion became a symbolic gesture of reclaiming power in times of economic deprivation and attempts at political dominance. In some instances, it proved a man could be a master of his own fate. Some authors have remarked that the sapeurs concealed their social failure through the presentation of self and the transformation of it into an apparent victory.
And finally, Fashion for Writers is on some kind of posting roll with wonderful prose and lovely photographs. I'm inspired, though not enough to get dressed in something besides yoga pants and my old Maximumrocknroll t-shirt right now. Damn this cold! I will just have to heal in the warm glow of the Kate Bush Dance Troupe!
Filed under (AD)DRESSING GENDER & SEXUALITY, FASHIONING RACE, OUR JUNK DRAWER
Tagged as blackness, dandyism, laundry, Masculinity, Morton, new technologies, sapeur
by mimi thi nguyen | October 29, 2009 · 4:06 pm
PICTURING POLITICS: On "Pride In His Work"
This past Monday, in what brings nothing less than Driving Miss Daisy most prominently to mind, the Sartorialist posted a photograph from his book tour, featuring his (unnamed) driver in San Francisco. In his commentary, the Sartorialist remarks: "As you can see he was very elegant and practically oozed self-confidence, dignity and pride in his work. I love people who show pride in their work, regardless of the job."
Seemingly unaware that service workers labor under constant public scrutiny, he continues: "This man's car was spotless, his shoes were shined and he knew exactly where he was going. He wasn't dressed like that for me, he had no idea who I was, this was just another day and just another ride done in his own stylish way."
My first reaction was, What the fuck.
I've written about this before with regard to the Sartorialist's photograph of a presumably (but not assuredly) homeless black man and the commentary in which he imputes a quality of dignity to the man on the evidence of his well-matched accessories. This quality reappears here in the suit and smile, now matched with "pride in his work." Those structures of privilege or social realities that might mediate the encounter are nowhere accounted for. Instead, we are presented with what appears to be the snapshot of an individual who has risen above those unnamed social structures (only apparent in the condescension of "regardless of the job") to attain self-confidence and dignity, but who (in this story the Sartorialist tells) does not challenge those structures at all.
I want to quote again the brilliant Lauren Berlant on the icky sentimentalism of such regard:
The humanization strategies of sentimentality always traffic in cliché, the reproduction of a person as a thing, and thus indulge in the confirmation of the marginal subject's embodiment of inhumanity on the way to providing the privileged with heroic occasions of recognition, rescue, and inclusion.
As before, the Sartorialist's rhetoric is the affective symptom of this world-view that first expresses amazement at the other's dignity ("he wasn't dressed like that for me"/"he is communicating his sense of pride and self-worth") and second expresses self-satisfaction at his own willingness to recognize that dignity — without ever confronting the conditions or ideologies that enable such assumptions as its absence in the first place.
The comments performthis same economy of affirmation and forgetting — this is the conditional affirmation of the other's dignity in so far as he appears to be "like us," and this is the selective forgetting of the histories of labor and race that continue to exclude the other from the measure of humanity. Especially here, because conceptions of labor are always interpolated with considerations of race, gender, sexuality, and nation, the figure of the black driver signifies in all these at once.
That is, in the following comments we see certain conceptions of contracted and service labor as they intersect with forms of racism and racialization (about black masculinity through prisms of racialized threat and its "domestication" in particular), material privileges and class comfort (consider the remarks about "trust" and "politeness"), and rules of gender stylization:
I immediately thought of Marshall (Ossie Davis) the limo driver in Joe vs the Volcano. Very nice.
He looks clean, and he looks proud of his job!
Pure style indeed. Could you post his contact information? I am in the Bay Area every few months and would like to book him.
VERY well put. everyone should take such pride in their jobs, regardless of the profession.
What a nice-looking man! You're right; taking care in one's appearance definitely inspires confidence. I'd definitely trust him to drive me anywhere.
Echoed repeatedly is the notion that "pride in one's work" is an important but increasingly rare quality. (This leads many commentators to wax nostalgic for an idealized image of the past, which carries its own historical racial connotations.) But what sort of attitude is this about those forms of labor that are comprised of economic vulnerability and racial exploitation? To emphasize, indeed to belabor, "pride in his work" as such is thus merely to raise a rather conventional attitude about the other's compliance with capitalism's often violent inequities.
That is, when does "pride in his work" slide seamlessly into "knows his place"? Such comments as "I would like to book him," "He looks proud of his job," express pleasure at what is presented as the scene of a black man proud to be at the service of others.
Thus the violence of historical servitude disappears, and it occurs to only a very few in his audience (of the commentators) that perhaps this performance is less pride and more prudence. In an uncertain economy, an individual employed in the service sector –especially as a driver or some other position requiring also affective labor (e.g., smiling, nodding, chuckling at terrible jokes)– must perform satisfaction with their position in order to ensure their continued employment.
Showing this post to my students, many of them understood this immediately: that doing service work is a careful negotiation of bodily and sartorial performativity informed by race, gender, sexuality, and nation, under unequal conditions of labor and capital.
Meanwhile, I want to believe that this comment is the work of a minion at The Onion, because the final bit about his teeth seems so ludicrous it must be satire lampooning the racism of above-mentioned observations about the driver's cleanliness: "Well put, Sart! Regardless of one's job, even if it's just to drive people around, one should always look nice, as this gentleman certainly does. We can't see his shoes, so we'll have to take your word that they are shined, but we can see his teeth, and they are well brushed indeed, further proof of his self-esteem."
A few comments do protest ("The fact that he is a driver doesn't mean he has a personal sound track which consists of 'It's a Hard-Knock Life'……"), and Stephanie writes at length:
You write all of this as though the fact that someone with a lower-class service job actually cares about themselves and has self-confidence and "dignity" is remarkable. He might not have been dressed like this specifically for you, but who knows why he dresses like this…could very well have something to do with wanting to get ahead in a service industry. As a friend of mine said, "Additionally, the post, especially in remarks to politeness and "self-worth" makes me think of Richard Wright's novels, and specifically of Bigger Thomas in "Native Son," or of generations of black porters who learned to smile at every white person, or of cooks, drivers, and other employment groups of subservient Negroes that have faded into cultural memory."
Not that there is anything wrong with that on his part, just that I feel like you are romanticizing/aestheticizing away a lot of the more gruesome aspects of class, labor, and race in America. Which is potentially dangerous, and not in a good way. (Or, at least not in a good way for those of us who care about changing those conditions for the better.)
While allowing other comments –notably, the more obviously fucked-up ones expressing surprise and pleasure at the driver's cleanliness– go unremarked, the Sartorialist did respond to Stephanie with a few disproportionate sentiments, including: "The problem is not me ….it's you! you try to scare people with your hyper-political correctness so everyone is scared to say anything…. Next time read what i wrote and not what you think you can twist around to fit your daily pc rant." (Oh, cliche*!) After Stephanie gently pointed out that she was just one comment among many –most of which are uniformly fawning– and had no actual power to censor anyone on his blog, the Sartorialist apologized, sort of ("we were too harsh on each other").
* From this post: "Underlying every complaint of 'PC' is the absurd notion that members of dominant mainstream society have been victimized by an arbitrarily hypersensitive prohibition against linguistic and cultural constructions that are considered historical manifestations of bigotry." And furthermore, from Racialicious: "Berg explains that in its original context, PC was a pejorative term used by people who felt they were losing something. Exactly what they were losing is very hard to describe, especially to them. But many sociologists and historians today have come to a consensus on what they call it: it's a loss of privilege—and in terms of race, a loss of white privilege."
Filed under FASHIONING RACE, STYLE POLICE & STYLE GURUS
Tagged as blackness, dignity, labor, Masculinity, photography, Sartorialist, service work
PUBLICATION: Monica Miller on Slaves To Fashion
Duke University Press's new release, Monica Miller's Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, promises to appear on all my future syllabi, no matter the course. Read Miller's illuminating essay about the book's core concepts and their development at Rorotoko, an online venue for engaging authors and ideas in intellectual nonfiction. Below is a long excerpt to whet your appetite:
Slaves to Fashion began with a footnote I encountered in graduate school. While auditing a class on W.E.B Du Bois's The Souls of Black Folk, I came across a troubling reference to the fact that the revered Du Bois had been caricatured as a black dandy. In the class, we spent even weeks in detailed analysis of Du Bois's skill as a rhetorician and lyricist. In order to appreciate the truly interdisciplinary nature of his talents, we took very seriously his training as a philosopher, historian and sociologist. The image of Du Bois that emerged was that of an erudite, punctilious, quintessential "race man." None of this prepared me for the footnote and accompanying illustration from a political cartoon of Du Bois as a degraded buffoon, overly dressed and poorly comported, whose erudition had been turned into what the cartoon called "ebucation."
Only when I began to research the history of dandyism and, in particular, the racialization of the dandy figure, did I realize the complex strategy and history behind that caricature. Dandyism has been used by Africans and blacks to project images of themselves as dignified and distinguished, it has also been used by the majority culture (and blacks) to denigrate and ridicule black aspirations. Slaves to Fashion examines the interrelatedness of these impulses and what the deployment of one strategy or the other says about the state of black people and culture at different moments in history.
Although dandyism is often considered a mode of extremely frivolous behavior attentive only to surfaces or facades and a practice of the white, European elite and effete, I argue that it is a creative and subtle mode of critique, regardless of who is deploying it. Though often considered fools, hopelessly caught up in the world of fashion, dandies actually appear in periods of social, political and cultural transition, telling us much about cultural politics through their attitude and appearance. Particularly during times when social mores shift, style and charisma allow these primarily male figures to distinguish themselves when previously established privileges of birth and wealth, or ways of measuring social standing might be absent or uncertain. Style—both sartorial and behavioral— affords dandies the ability and power to set new fashions, to create or imagine worlds more suited to their often avant-garde tastes. Dandyism is thus not just a practice of dress, but also a visible form of investigating and questioning cultural realities.
Anyone can be in vogue without apparent strategy, but dandies commit to a study of the fashions that define them and an examination of the trends around—which they can continually re-define themselves. Therefore, when racialized, the dandy's affectations (fancy dress, arch attitude, fey and fierce gesture) signify well beyond obsessive self-fashioning—rather, the figure embodies the importance of the struggle to control representation and self- and cultural-expression.
Manipulations of dress and dandyism have been particularly important modes of self-expression and social commentary for Africans before contact with Europeans and especially afterwards. In fact, in order to endure the attempted erasure or reordering of black identity in the slave trade and its aftermath, those Africans arriving in England, America, or the West Indies had to fashion new identities, to make the most out of the little that they were given. Whether luxury slaves or field hands, their new lives nearly always began with the issuance of new clothes.
Enslaved people, however, frequently modified these garments in order to indicate their own ideas about the relationship between slavery, servitude, and subjectivity. For example, there are documented cases of slaves saving single buttons and ribbons to add to their standard issue coarse clothing, examples of slaves stealing or "borrowing" clothing, especially garments made from fine fabrics, from their masters for special occasions. Slaves created underground second-hand clothing markets in major cities to augment their wardrobes and to exchange clothing that identified them when they wanted to escape. In fact, many slaves "dressed up" or "cross-dressed" literally when they absconded, wearing clothing beyond their station or of the other gender in efforts to appear free and be mobile. The black dandy's style thus communicates simultaneously self-worth, cultural regard, a knowingness about how blackness is represented and seen. Black dandyism has been an important part of and visualization of the negotiation between slavery and freedom.
Filed under FASHIONING RACE, FASHIONING THE HUMAN, LINKAGE, THEORY TO THINK WITH
Tagged as blackness, dandyism, gender, publication, sexuality, slaves to fashion, style
by minh-ha t. pham | October 12, 2009 · 8:38 pm
Blackface, and the Violence of Revulsion
This post is supposed to be about the latest occurrences of blackface in fashion — specifically, the 14-page editorial featuring Lara Stone, a white Dutch model, painted black and shot by Steven Klein for the October 2009 issue of French Vogue and also Carlos Diez's show at Madrid Fashion Week (September 22, 2009) in which models walked in blackface and, at times, with bared breasts.
There is indeed quite a lot to say about both events. To begin, fashion's seeming ineptness for dealing with race in ways that do not accommodate and/or supplement the already too long histories of racial objectification and commodification. We've discussed much of this history on Threadbared (see especially here, here, here, here, and here) already and will no doubt continue to, as there seems to be an inexhaustible amount of material. Second, these events (and others like it) are revealing of the ways in which multiculturalism and multiracialism –under the guise of postracialism, postmodernism, or just artistic edginess– enables the continuation of white supremacy. For example, some are defending French Vogue for its provocativeness ("creative images . . . can sometimes [be] off-putting") and for its postracialism (arguing that it is "sort of beautiful in that having a person of one ethnic background look convincingly like she might be of another race shows the interconnectedness of us all"). But what is on display in French Vogue and on Diez's runway is not beautiful black bodies, but what Nirmal Puwar describes as "the universal empty point" that white female bodies are able to occupy precisely because their bodies are racially unmarked: "[Thus] they can play with the assigned particularity of ethnicized dress without suffering the 'violence of revulsion.'"
The "violence of revulsion" that women of color generally, and black women particularly in the cases of this issue of French Vogue and Diez's show, experience is not mediated by these "edgy" acts of "postracialism". In fact, the violence of revulsion is redoubled here. Blackface highlights the privileged universal empty point that white bodies continue to occupy even in this so-called postracial moment, and in so doing, it positions racial difference against whiteness, as the other to whiteness. Moreover, blackface and other performances of racial commodification produce a different kind of "violence of revulsion" — an everyday violence of revulsion like I experienced when I discovered Klein's editorial and Diez's fashion show.
By this second order of "violence of revulsion," I mean the assault of racism and the assault of colonialism's traces on what was for me, until that moment of violence, a relatively mundane workday at home. Violently interrupting this scene of banality is not simply these images of racial arrogance, but my own visceral response of anger, exasperation, disappointment, and a feeling I can only describe as racism fatigue. Such images and their inevitable postmodern, postracial, freedom-of-artistic-expression discourses and apologists are not only tired, today they are tiring.
Filed under FASHIONING RACE
Tagged as blackness, violence, Vogue
by mimi thi nguyen | September 9, 2009 · 12:48 am
LINKAGE: The Color of Beauty
Naomi Campbell rightly argues that the all-black Italian Vogue was an inadequate gesture: "That made some noise but, unfortunately, we are the same as before. People, in the panic of recession, don't dare to put a girl of color in their campaign, full stop."
At Sepia Mutiny, contributor Phillygrrl recounts the value given to lighter skin among South Asians in "Dark is Beautiful, Indeed." She posts the efforts of a new organization called Women of Worth and its "Dark is Beautiful" campaign: "The organization purports to erase the notion that 'the beauty and value of an Indian woman is determined by the fairness of her skin.'" (via Racialicious)
For The New York Times, Catherine St. Louis notes that "Black Hair [Is] Still Tangled in Politics." From the article: "'For black women, you're damned if you do, damned if you don't,' said Ingrid Banks, an associate professor of black studies at the University of California at Santa Barbara. 'If you've got straight hair, you're pegged as selling out. If you don't straighten your hair,' she said, 'you're seen as not practicing appropriate grooming practices.' Anyone who thought such preconceptions were outdated would have been reminded otherwise by some negative reactions to the president's 11-year-old daughter, Malia Obama, who wore her hair in twists while in Rome this summer. Commenters on the conservative blog Free Republic attacked her as unfit to represent America for stepping out unstraightened." The New York Times also features an interactive gallery of nine African American women discussing their hair, and Jezebel "combs through" the issue.
Afrobella sorts out her thoughts about Tyra Bank's National Real Hair Day episode, hot on the heels of the multiple stories recently published about black hair preceding the nationwide release of Chris Rock's documentary Good Hair, in which she appeared without her weave. "Maybe, despite the hype, Tyra wasn't yet ready. And that I can almost respect. Going natural shouldn't be a fad — it takes dedication, committment, and courage. Maybe this was a baby step for Tyra." Afrobella and her commenters parse the significance of real as opposed to natural hair, and the implications that follow. (via Racialicious)
Make Fetch Happen thoughtfully scans the Vogue interview with Beverly Johnson, discussing her experience as Vogue's first black cover model.
Filed under FASHIONING RACE, LINKAGE, ON BEAUTY
Tagged as blackness, hair, South Asian
by mimi thi nguyen | August 21, 2009 · 10:45 pm
LINKAGE: Sartorial Politics, Political Follies
(Photo: Getty Images, 16 August 2009)
The sartorial discourse around the Obamas continues to illuminate the treacherous claims shaping and disciplining "American" civic bodies. Over at the National Review, former US assistant attorney general Andy McCarthy disingenuously wonders, "I've noticed that President Obama frequently forgoes the necktie — lately, even in public appearances. That reminded me — I have no idea why — that the Iranian regime has shunned the necktie ever since Khomeini pronounced it a symbol of Western decadence." McCarthy's gee-golly "I have no idea why," prefacing the interpretative gap that follows hard on its heels, insidiously feigns an intuitive corollary between Obama's occasional tielessness with Khomeini's condemnation of this infernal men's accessory. This bundle of logical fallacies is all too familiar in contemporary conservative political language, as further evidenced by the outrageous effort to paint Obama as Hitler's monstrous reincarnation. In parody, a Gawker commentator snarked, "I've noticed that President Obama has two legs. That reminded me – I have no idea why – that Voldemort also acquired two legs when he became re-born in the cemetery through evil Satan-magic while murdering people."
Then there is the handwringing over Michelle Obama's decision to wear a pair of perfectly boring shorts and, significantly, bare her legs, which made the news rounds as a potentially shocking deviation from propriety (MSNBC.com insists, "First Lady's fashions pushing the envelope?"). Propriety is, of course, a disciplinary discourse that necessarily indexes a slew of racial fantasies and sexual anxieties about representative –i.e., quintessentially "American"– bodies. We've witnessed this anxious convergence before in the controversy about Michelle Obama's bared arms (although copious photographic evidence of the blue-blooded Jacqueline Kennedy in sleeveless sheathes demonstrates that bared arms are nothing new for a First Lady). Not all sartorial sniffing at Michelle Obama's wardrobe is necessarily racist, of course. But such small controversies as bared arms or legs do transpire in a nation long-troubled by racial regimes that, in closely scrutinizing feminine black bodies, ascribed to them at worst an uncontrollable carnality, and at best an under-civilized corporeality. Thankfully, Michelle Obama's bared arms, a.k.a. Thunder and Lightening, a.k.a. the First Guns, have their own blog in which together they ponder the media obsession with themselves. And over at the Kitchen Table, black feminist academics Melissa Harris-Lacewell and Yolanda Pierce also question the not-so-hidden undercurrent of racial fantasy and sexual anxiety that drove the initial discussion about the First Lady's fitness.
Meanwhile, Robin Givhan considers the sartorial sensibilities of the townhall shouters as they wage war against health care and the civic obligation to care for the poor or the ailing –surely a socialist Trojan Horse!– and against Barack Obama, the black Muslim foreign communist Nazi infiltrator they fear will bring an resolute end to the white America they know and love so well. (That these two goals are brought together as one and the same is made explicit in many of the posters and protests.) For Givhan, this sartorial spectacle is about authority — the challenge to it by those in the costume of the "Average Guy –or Gal" ("a lot of them look as though they could be attending a sporting event"), and the reiteration of it by those politicians at the receiving end of their vitriol, be-suitted in "full Washington regalia." Or, as Givhan argues:
The underlying focus of this grudge match is, of course, about power — as concentrated in Congress, the presidency, the special interests, the wealthy. The rage emerges from a feeling of helplessness that some version of reform is going to occur whether these citizens like it or not.
While surely this sartorial dynamic of a "grassroots" movement called forth to challenge unfair government matches the portrait the protesters hope to convey, I'm not convinced that this spectacle as such can be understood apart from its volatile racial dynamics. On the one hand, it seems the "Average Guy –or Gal" as a proxy civic body necessarily implicates what George Lipsitz might call a possessive investment in whiteness, especially in his or her sartorial choices that conjure, as they do for Givhan, the "real America." On the other hand, the somber-suited politician as another sort of proxy civic body is undermined in his whiteness by proximity to the black Muslim foreign communist Nazi infiltrator. In this racial logic, the suit bespeaks the politician's demoted status as middle management, an Obama lackey. As such, the politician is duly stripped of his authority to represent the interests of "real America" which, in the racist imaginary, most certainly would not include the black and brown disadvantaged. As Tavia Nyong'o observes, "The spectre of 'death panels' is, in a way, as old as post-Civil War hysteria about freed slaves gaining political supremacy and riding roughshod over the master race." Thus, when Givhan ends her piece, we should be clear about just who the hated "boss" is, and why.
Washington's power brokers have suited up to underscore their authority and the seriousness of the subject matter. And bully for them. But their attire also says: I am the boss of you. All those howling citizens — in their T-shirts and ball caps and baggy shorts — are saying: No, you're not.
(Thanks to Fashion for Writers's Meggy Wang for bringing this article to my attention!)
In a couple of much briefer notes, Shabana Mir tackles the latest in sartorial Islamophobia — the "burqini ban" controversy. "A swimming pool in the Paris suburb of Emerainville has refused entry to a young Muslim woman wearing a burqini," and as Mir points out, this most recent ban is about a higher order of hygiene: "But the burqini is dangerous. It is a germ. It might spread. It is a visual sign of the disease – Islam – that right-wingers wish to eliminate from the body politic. It is not an accepted form of minority religion that keeps its head down and tries to look nonchalant. It is a little too loud-mouthed in its visual message. How, then, may it be tolerated in public spaces?"
Also, Fatshionista and Queer Fat Femme take on PETA's latest wrongheaded campaign in a long history of idiot advocacy. "Turning rage into productivity", Queer Fat Femme posted a reader's Photoshop transformation of the original billboard (which originally read: "SAVE THE WHALES. Lose the Blubber: Go Vegetarian."):
Filed under FASHIONING RACE, LINKAGE
Tagged as blackness, burqa, fat, obama, politics


For the last eight years we have been taking my niece to Victoria in the spring for a girls weekend. We shop, visit the museum, dine out, hit the spa, and explore the city by land and sea. This year was different as my sister and I took my niece and her best friend over for a few days just before spring break. My niece, whose friend had never been to Victoria before, and I called the shots as we planned the activity schedule.
On the top of my niece's shopping list was the "Seeing is Believing" store on Government Street. I'm pretty sure we spent about an hour in there looking at novelties, getting zapped by trick pens, learning about new board games, and playing with toys that were bouncy, sticky, and gummy. It's also on the same stretch of road as Rogers Chocolates where it's almost necessary to stop in, try some samples, and pick up a chocolate truffle or two.
Referring to a map she picked up at breakfast, my niece also took us over to "Murray's Trick & Joke Shop" where she and her friend were eying squirting roses that could fool their little brothers.
A Victoria staple is the Bay Centre where I found out they had a Foursquare special. Check-in using your app and redeem the special at the customer service counter for a sheet full of discounts for shops in the mall.
Tea at the Empress is something everyone must experience at least once when they visit Victoria and they have a special treat for the young ones in your life. The Empress offers "Prince or Princess Tea" which contains smaller portions and more kid-friendly sandwich options like turkey (as opposed to smoked salmon or curried chicken).
Princes and Princesses get cupcakes instead of green tea cheesecake squares and also get to enjoy their own choice of tea. The girls could have probably split one serving as they could barely finish all of their sandwiches and treats.
The museum is always at the top of everyone's list and my niece enjoys the First Peoples' gallery and the "old fashioned town" on the third floor the best. There is an Emily Carr exhibit on now until October, 2011 that tells the story of "The Other Emily".
Artist Manon Elder painted portraits of Carr based on old photographs and says she wanted to capture a side of the artist that is seen far less than the "frumpy old woman" often portrayed.
At the end of a busy day, the girls wanted to hit the beach but given that it was about 6:00pm on a Saturday night in early March, we didn't have much time to explore. We drove along Dallas Rd, Hollywood Crescent, Crescent Rd and up King George Terrace stopping at a few beach-side pullouts along the way. The girls had just enough time to find a large string of bull kelp, take some videos with their Flip camera, climb on some rocks, then pile back into the car to warm up.
If you're heading to Victoria for spring break this week or next, here are a few special events happening around town that might be worth checking out.
You can view the rest of my photos from the weekend in this photo set on Flickr. More will be added as I published additional posts about the trip.
Hi – glad to hear you had a good time at the Royal BC Museum and it is at the top of your list!


text:
U.S. Banks Win Mortgage Fraud Settlement, Borrowers Lose
Bribery, Fraud & Tax Evasion, Law & Regulation, Money & Politics
Ten major U.S. banks settled charges of illegally kicking people out of their homes for pennies on the dollar, under two agreements with the government announced this week. The biggest beneficiary is Bank of America which will win a get-out-of-jail free card for selling fraudulent loans to two government-sponsored mortgage finance companies.
Bank of America sold bad mortgages that led to numerous foreclosures via subprime mortgage lenders Countrywide Financial Corporation and Countrywide Home Loans, Inc. that it acquired in 2008. "Through a program aptly named 'the Hustle,' Countrywide and Bank of America made disastrously bad loans and stuck taxpayers with the bill," said Preet Bharara, the U.S. Attorney for the Southern District of New York when he sued the company for $1 billion on behalf of the government last October.
Under the new settlement Bank of America will buy back $6.75 billion in residential mortgage loans sold to the Federal National Mortgage Association (Fannie Mae) and give the government an additional $3.6 billion in cash. The other banks - which include Citigroup Inc, JPMorgan Chase and Wells Fargo - will pay out $3.3 billion in direct payments to people who lost their homes plus another $5.2 billion to others who are threatened with possible eviction for not being able to pay their loans. This is in addition to the $26 billion that many of the same banks agreed to pay out last February under a separate deal with 49 state attorneys general, the Justice Department and the Department of Housing and Urban Development.
Despite the large sums involved, most consumer advocates say that the settlements are far too little for those who lost the most. "Communities of color were particularly hard hit by abusive mortgage practices," said Debby Goldberg, special project director at the National Fair Housing Alliance. "The $8.5 billion and other settlements are not comparable to the trillions of dollars in wealth sucked from communities," added Sasha Werblin, senior program manager at the Greenlining Institute.
The two new settlements were drawn up after the effective failure of the Independent Foreclosure Review - a 2011 program set up by the banks to review bad mortgages and compensate those who were eligible. Only about one in ten of the potential 3.8 million beneficiaries signed up for the program because they were skeptical of the effort that was widely perceived as biased towards the lenders. They were probably not wrong - the consultants running the program was billing as much as $250 an hour for 20 hours for each case, according to the New York Times.
"It has become clear that carrying the process through to its conclusion would divert money away from the impacted homeowners and also needlessly delay the dispensation of compensation to affected borrowers," said Thomas Curry, the federal Comptroller of the Currency. "Our new course of action will get more money to more people more quickly."
But the activists say that the government had bungled the whole process. "If the reviews had been done right the first time, banks would have been on the hook to pay far more to homeowners," said Alys Cohen, staff attorney for the National Consumer Law Center.
David Lazarus of the Los Angeles Times put the numbers in context - he estimates that the average amount that most borrowers will get is just $2,000. On the other hand, Lazarus notes that the banks have done quite a bit better in 2011 - the year covered by the settlement: "Citigroup pocketed $11.3 billion in profit. JPMorgan Chase saw record profit of $19 billion. Wells Fargo posted almost $16 billion in profit. (Bank of America) was the poor relation of the family. It earned only $1.4 billion in profit."

redpajama_set_name: RedPajamaCommonCrawl


The parable of the "Good Samaritan" is not a title that has aged well. We know the story well enough, a man is robbed and beaten, ignored by his own people, and only a Samaritan who passes by takes care of him. Now, Samaritan funds and Samaritan charities have become common, a callback to the story we all know.
Except, it's a terrible name, and it has lost the meaning and context of the original telling.
Jesus tells the parable in response to the question, "Who is my neighbor?" posed by "an expert of the law," according to Luke's telling. Probably a test, definitely a cynical question.
So in Jesus' story, a priest and a Levite pass by the broken man. If he was dead, or to die, they would be made unclean by physical contact with him. The process of cleansing was long and tedious, including completely shaving oneself and washing in the water that was poured over a burned animal sacrifice (like Fight Club's history of soap). So they weren't being uncharitable you see, they were being practical.
The Samaritan treats him different. But who was the Samaritan? The Samaritans were a people despised by the tribe of Judah (the Jews) for they were a people of mixed blood. They were the descendants of the Northern tribes of Israel taken by the Assyrians, intermarried and mixed with Gentile lineage. Not like the Jews, who had remained "pure" in their heritage.
Notice Jesus didn't tell the parable of the "Good Roman" – Romans were oppressing the Jews, occupying their land, treating the Jews as a conquered people. That would have been a shock, too. A Roman, especially a Roman soldier or a Roman officer, to have taken pity on the Jewish man, would have been a shock. But Jesus did not use an example of someone who the Jews saw as over them and hated, but someone they saw as beneath them and hated.
Even knowing the context of Samaritans in the time of Jesus doesn't fully deliver the impact this must have had. Jesus chose to hold up as an example someone that was derided by his audience as an example of someone who acted neighborly. It was a rebuke wrapped in an example, as bitingly cynical (if I might suggest Jesus was cynical in this matter) as the jaded question that prompted the story.
If I may be permitted to think about what Jesus might have used for an example today, based on the Jewish-Samaritan relations of His time, maybe he would have told the story of the Good Liberal, or the Good Guy in a MAGA hat. Maybe it would have been The Good Drug Addict. The Good Illegal Alien. The Good Homeless Person. The Good Person-With-Different-Skin-Color-Than-You.
I think He would have chosen someone His current audience would have seen as below them, someone His audience derided, not someone they thought was a threat. Someone they found unworthy of pity or charity. Someone that His audience could not imagine making a selfless act and sacrifice, who overcame his tribal feeling of injustice and cared for a fellow human being from a class that oppressed, excluded, and judged his kin and those like him.
Maybe, just maybe, Jesus today would tell the parable of The Good Christian.


How important is Qualifying in Formula 1?
Was Lewis Hamilton's win in Shanghai down to his Qualifying?
Red Bull's Christian Horner has played down reports about the importance of qualifying in Formula 1.
After watching Sebastian Vettel start from pole position and using only two pit-stops he saw Lewis Hamilton eventually take the win with Vettel coming in second. Hamilton's strategy and team tactics paid off with him securing enough pace to qualify in a decent position but not pushing the car so hard as to wear the tyres out before the race. Each team is given 3 sets of soft tyres and 3 sets of hard tyres; it's been a general rule of thumb to ensure the soft tyres are used during qualifying to enable the driver to get the best qualifying time possible due to their higher grip. This normally ends up with the teams being on their third set of soft tyres by the last qualifying session and leading into the race. However, it was noticed that McLaren and specifically Lewis Hamilton managed to save a set of soft tyres for the actual race, ensuring that his lap times were faster than his rivals at Red Bull. This strategy payed off well for McLaren but how will it fair on a race by race basis? Will the same tactic be adopted by other teams or will trying to get pole position actual pay off on some tracks?


Posted on 12 October 2016 30 March 2018 by Mathias LK	This entry was posted in Ljuder parish and tagged Black-and-white, Glass, Photography, Still life, Trees, Windows, Woods. Bookmark the permalink.
Gillar verkligen de här bilderna, så kreativa.


text:
`Napi::Value` is the C++ manifestation of a JavaScript value.

Value is a the base class upon which other JavaScript values such as Number, Boolean, String, and Object are based.

The following classes inherit, either directly or indirectly, from `Napi::Value`:

- [`Napi::Array`](array.md)
- [`Napi::ArrayBuffer`](array_buffer.md)
- [`Napi::Boolean`](boolean.md)
- [`Napi::Buffer`](buffer.md)
- [`Napi::Date`](date.md)
- [`Napi::External`](external.md)
- [`Napi::Function`](function.md)
- [`Napi::Name`](name.md)
- [`Napi::Number`](number.md)
- [`Napi::Object`](object.md)
- [`Napi::String`](string.md)
- [`Napi::Symbol`](symbol.md)
- [`Napi::TypedArray`](typed_array.md)
- [`Napi::TypedArrayOf`](typed_array_of.md)

## Methods

### Empty Constructor

```cpp
Napi::Value::Value();
```

Creates a new *empty* `Napi::Value` instance.

### Constructor

```cpp
Napi::Value::Value(napi_env env, napi_value value);
```

- `[in] env`: The `napi_env` environment in which to construct the `Napi::Value` object.

- `[in] value`: The C++ primitive from which to instantiate the `Napi::Value`. `value` may be any of:
  - `bool`
  - Any integer type
  - Any floating point type
  - `const char*` (encoded using UTF-8, null-terminated)
  - `const char16_t*` (encoded using UTF-16-LE, null-terminated)
  - `std::string` (encoded using UTF-8)
  - `std::u16string`
  - `Napi::Value`
  - `napi_value`

### From

```cpp
template <typename T> static Napi::Value Napi::Value::From(napi_env env, const T& value);
```

- `[in] env`: The `napi_env` environment in which to create the `Napi::Value` object.

- `[in] value`: The N-API primitive value from which to create the `Napi::Value` object.

Returns a `Napi::Value` object from an N-API primitive value.

### operator napi_value

```cpp
operator napi_value() const;
```

Returns this Value's N-API value primitive.

Returns `nullptr` if this `Napi::Value` is *empty*.

### operator ==

```cpp

bool Napi::Value::operator ==(const Napi::Value& other) const;
```

- `[in] other`: The `Napi::Value` object to be compared.

Returns a `bool` indicating if this `Napi::Value` strictly equals another `Napi::Value`.

### operator !=

```cpp
bool Napi::Value::operator !=(const Napi::Value& other) const;
```

- `[in] other`: The `Napi::Value` object to be compared.

Returns a `bool` indicating if this `Napi::Value` does not strictly equal another `Napi::Value`.

### StrictEquals

```cpp
bool Napi::Value::StrictEquals(const Napi::Value& other) const;
```
- `[in] other`: The `Napi::Value` object to be compared.

Returns a `bool` indicating if this `Napi::Value` strictly equals another `Napi::Value`.

### Env

```cpp
Napi::Env Napi::Value::Env() const;
```

Returns the `Napi::Env` environment this value is associated with.

### IsEmpty

```cpp
bool Napi::Value::IsEmpty() const;
```

Returns a `bool` indicating if this `Napi::Value` is *empty* (uninitialized).

An empty `Napi::Value` is invalid, and most attempts to perform an operation on an empty Value will result in an exception.
Note an empty `Napi::Value` is distinct from JavaScript `null` or `undefined`, which are valid values.

When C++ exceptions are disabled at compile time, a method with a `Napi::Value` return type may return an empty Value to indicate a pending exception. So when not using C++ exceptions, callers should check whether this `Napi::Value` is empty before attempting to use it.

### Type

```cpp
napi_valuetype Napi::Value::Type() const;
```

Returns the `napi_valuetype` type of the `Napi::Value`.

### IsUndefined

```cpp
bool Napi::Value::IsUndefined() const;
```

Returns a `bool` indicating if this `Napi::Value` is an undefined JavaScript value.

### IsNull

```cpp
bool Napi::Value::IsNull() const;
```

Returns a `bool` indicating if this `Napi::Value` is a null JavaScript value.

### IsBoolean

```cpp
bool Napi::Value::IsBoolean() const;
```

Returns a `bool` indicating if this `Napi::Value` is a JavaScript boolean.

### IsNumber

```cpp
bool Napi::Value::IsNumber() const;
```

Returns a `bool` indicating if this `Napi::Value` is a JavaScript number.

### IsString

```cpp
bool Napi::Value::IsString() const;
```

Returns a `bool` indicating if this `Napi::Value` is a JavaScript string.

### IsSymbol

```cpp
bool Napi::Value::IsSymbol() const;
```

Returns a `bool` indicating if this `Napi::Value` is a JavaScript symbol.

### IsArray

```cpp
bool Napi::Value::IsArray() const;
```

Returns a `bool` indicating if this `Napi::Value` is a JavaScript array.

### IsArrayBuffer

```cpp
bool Napi::Value::IsArrayBuffer() const;
```

Returns a `bool` indicating if this `Napi::Value` is a JavaScript array buffer.

### IsTypedArray

```cpp
bool Napi::Value::IsTypedArray() const;
```

Returns a `bool` indicating if this `Napi::Value` is a JavaScript typed array.

### IsObject

```cpp
bool Napi::Value::IsObject() const;
```

Returns a `bool` indicating if this `Napi::Value` is JavaScript object.

### IsFunction

```cpp
bool Napi::Value::IsFunction() const;
```

Returns a `bool` indicating if this `Napi::Value` is a JavaScript function.

### IsBuffer

```cpp
bool Napi::Value::IsBuffer() const;
```

Returns a `bool` indicating if this `Napi::Value` is a Node buffer.

### IsDate

```cpp
bool Napi::Value::IsDate() const;
```

Returns a `bool` indicating if this `Napi::Value` is a JavaScript date.

### As

```cpp
template <typename T> T Napi::Value::As() const;
```

Casts to another type of `Napi::Value`, when the actual type is known or assumed.

This conversion does not coerce the type. Calling any methods inappropriate for the actual value type will throw `Napi::Error`.

### ToBoolean

```cpp
Napi::Boolean Napi::Value::ToBoolean() const;
```

Returns the `Napi::Value` coerced to a JavaScript boolean.

### ToNumber

```cpp
Napi::Number Napi::Value::ToNumber() const;
```

Returns the `Napi::Value` coerced to a JavaScript number.

### ToString

```cpp
Napi::String Napi::Value::ToString() const;
```

Returns the `Napi::Value` coerced to a JavaScript string.

### ToObject

```cpp
Napi::Object Napi::Value::ToObject() const;
```

Returns the `Napi::Value` coerced to a JavaScript object.

redpajama_set_name: RedPajamaGithub


"Your prices are always so reasonable and your effects good value for money"
"Your Psychometry routine is worth a fortune to a working performer."
"Just to let you know that the trick your lucky day is just great.performed it on three occasions and got such a great reaction everytime.one of the best impromtu effects ive come across.thanks eddie."
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Virginia Filippousi was born in Istanbul in 1958 and since 1965 she lives and works in Athens.
From 1977 until 1982 she studied engraving and painting at the Athens School of Fine Arts under professors C. Grammatopoulos, D. Mytaras , I. Moralis and B.Kazakos . She attended the workshop «The art of the book» taught by Giannis Papadakis. She graduated in 1982.
From 1985 to 2010 she taught visual arts at public high schools. In 2006 she attended photography seminars under Manos Lykakis and she develops a great interest and passion for the art of Photography, in particular, with experimental means of capturing images on photosensitive surfaces, through the use of handcrafted (pinhole) constructions.
Her works are included in various private collections.
2013 "Aquarium" Gallery Kaplanon" Athens.
2013 "Camera Lucida" Kythera Photographic Encounters" curated by John Stathatos.
2012 "Wandering" "Peri texnwn" Patras curated by Xenophon Papaefthimiou.
2014 ""Busts historical figures " Ena gallery, Athens.
2014 "Art-Athina Contemporaries: Statement Made" curated by Artemis Potamianou.
2014 "DEIGMA GRAFIS" "ena" Gallery 2014 Athens.
2013 "C.P.KAVAFIS. Days of 2013" gallery « Kaplanon5» , Athens.
2013 "Greek summer of Jacques Lacarrière" IANOS Athens, curated by Iris Kritikou..
2013 "Missolonghi and Lord Byron" Gallery of Christos and Sophia Moschandreou", gallery "Kaplanon5".
2013 "TIME IN A CAN" Madrid , curated by ESTUDIO REDONDO.
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text:
Ever since the dawn of civilization, human beings have been collecting their thoughts on cave walls, stone tablets, papyrus, and in an ancient device once known as a BOOK. Oftentimes, publication of these items caused a seismic shift in the norms of their day, and society was forever changed. Nowadays, books don't exist, of course, BUT you can now download these revolutionary tomes to your e-Reader of choice. Oh, and they're FREE!
1Plato's Republic by Plato
Anyone fancy a bum tickle?
Those nutty Greeks – when they weren't traipsing around in bed sheets or engaging in man-on-boy love, they were often waxing philosophic about the nature of society. How it was radical: Plato outlined basic human morals and a just society through dialogues with his contemporaries. What it influenced: The entire LAW & ORDER series – that big enough for you??
2The Kama Sutra by Vatsyayana
I think I just got a home run!
It's the world's first dirty book - this Ancient Hindu text was like the Penthouse Forum of its time. It described 64 sexual acts in lurid detail (pictures were inserted later – get it? Inserted?!) How it was radical: Was the first sex manual to describe all the bases – THOUSANDS OF YEARS before baseball was even invented!!! What it influenced: Baseball.
3The Rules of Association Football by Ebenezer Cobb Morley
Before this book came along, football games (aka soccer for you 'Mericans) were just a bunch of drunken hooligans fighting, minus the football part. After this book, everybody at least had something to riot about! How it was radical: Set down the rules for modern football, which are still in place today. What it influenced: Every drunken idiot that paints himself in his team's colors.
4Philosophiae Naturalis Principia Mathematica by Sir Isaac Newton
Ok, we'll admit we never read it – not that we would even understand it, anyway, but supposedly this dude took some numbers and was able to figure out why apples fall from trees. How it was radical: People stopped bullshitting about the principles of the universe. What it influenced: your math homework.
5Common Sense by Thomas Paine
Everyone always thought he was such a Paine.
This little title was like the Harry Potter of its day – but instead of Lord Voldermort, you had the jerky King of England and instead of a teen wizard casting spells, you had this guy spouting on about freedom from tyranny, and instead of, well… you get the idea. How it was radical: Convinced the average Joe that becoming an independent nation was a good idea. What it influenced: The American Revolution.
6Leaves of Grass by Walt Whitman
This guy was an f-in genius. He figured out how to merge romanticism and realism in his transcendent free verse, delivering poetry to the masses. Needless to say, he was up to his beard in poontang. What was radical: He ushered in a new era of contemporary poetry. Who was influenced: Usher.
7The Jungle by Upton Sinclair
This intrepid reporter set out to detail the harsh lives of the immigrant workers, but most people only cared that these filthy immigrants were dying on top of the meat. Why it was radical: Exposed the disgusting conditions of meat packing plants. What it influenced: "All Employees Must Wash Hands" sign now in every restaurant and slaughterhouse in America.
8The War of the Worlds by H.G. Wells
When this novel burst on to the scene over 100 years ago, most books were about waistcoated pansies or petulant whores. H.G. Wells literally invented the genre of Science Fiction, as well as stimulating the imagination of countless children who would grow up to become inventors, physicists, or Trekkies. Why it was radical: No one had yet written a book about alien invasions. Who it influenced: Tom Cruise
9A Vindication of the Rights of Women by Mary Wollstonecraft
This chick wrote the first manifesto for the Women's Rights movement. In it, she claimed that women were not property, deserved to have an education, and were, in fact, human beings. Believe me, that took some, er, balls. Why it was radical: Challenged the structure of patriarchal society. Who it influenced: Lil' Kim
10Uncle Tom's Cabin by Harriet Beecher Stowe
Speaking of powerful girls, this chick takes the cake. Her book exposed the terrible scourge of slavery, and its publication helped spark the Civil War. It became the best selling novel of the 19th Century. Why it was radical: Gave slaves a voice. What it influenced: Civil rights.
Guest post by Stephen Moramarco.
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text:
Richard Dawkins On Sin
. and McEwan blurbed Richard Dawkins's The God Delusion, calling it "lucid and. a suspicion that fiction-writing is infected with the original sin of fabulation.
Apr 9, 2012. What a despicable psychopathic belief system; original sin, forgiveness through. George Pell is not the intellectual equal of Richard Dawkins.
I met Dawkins in late March at the Atheist Alliance International annual conference in Los Angeles, where he presented the alliance's top honor, the Richard Dawkins Prize. religion's morbid.
Personal Information. Since moving to America in 1987, Australian Ken Ham—CEO and founder of Answers in Genesis–US, the highly acclaimed Creation Museum, and visionary behind a popular, full-size Noah's Ark—has become one of the most in-demand Christian conference speakers and talk show guests. He became internationally known for his 2014 creation/evolution debate with Bill Nye "the.
The Basis of Christianity. Around 57% of evangelicals believe there is more than one doorway to heaven. How many salvation doors are there? Only one!
This of course presupposes the notion of sin, or if you don't like that old-fashioned. Who is the ultimate arbiter for the atheist? Sam Harris? Richard Dawkins? Adolf Hitler? To whom will they.
Aug 24, 2009. For Richard Dawkins, Sam Harris, and Christopher Hitchens, among. on the Cross and save us from sin, and promises Heaven for the devout.
Atheist Richard Dawkins describes the atonement as "vicious, sado-masochistic and repellent." He continues, "If God wanted to forgive our sins, why not just.
So when did the cliché become such a sin of human communication. the "meme," coined by the evolutionary biologist Richard Dawkins in The Selfish Gene (1976). Here, memes are defined as readymade.
With Richard Dawkins, Ricky Gervais. Ideas about the soul and the afterlife, of sin and God's purpose have shaped human thinking for thousands of years.
Neuroscience Chapter 3 Quizlet The University of California, Davis (also referred to as UC Davis), is a public research university and land-grant university adjacent to Davis, California. It is part of the University of California (UC) system and has the third-largest enrollment in the UC System after UCLA and UC Berkeley. The institution was founded as a branch in
Atheist with a Mission Published: 7 February 2007 (GMT+10) Critique of The God Delusion by Richard Dawkins Transworld Publishers, London, 2006. reviewed by Philip Bell. The God Delusion by Richard Dawkins, Transworld Publishers, London, 2006. The title of this book immediately betrays the bias of the author—even for those unacquainted with the writings of this Professor of the (so-called.
Jun 12, 2013. But Richard Dawkins, the cardinal spokesperson for that oversimplified. selfish doom, a kind of an evolutionary original sin, contains errors.
For most of the 20th century, biologists considered anthropomorphism a cardinal sin. They wanted to guard against making. I once asked evolutionary biologist Richard Dawkins about animal rights,
How Do You Cite A Peer Reviewed Article How does open invited peer review of articles after publication work? Why publish before. What if I cite an article and a new version is published afterwards? Where Are Quantum Slimes From the mind of PORTAL™ co-creator Kim Swift, Quantum Conundrum features engaging puzzle gameplay. Wiz and Waz across a number of ill-positioned obstacles including
No one debates quite as well as an Oxford professor. And so today we feature two Oxford profs – atheist biologist Richard Dawkins and Christian mathematician John Lennox – debating God and science in. of all places. Birmingham, Alabama. The debate turns largely on a question raised in Dawkins' 2006 bestseller, The God Delusion: To what extent can religious belief and serious.
For my lapsed Christian friends blessed with a sweet tooth and a soft spot for puns: wickedly refreshing peppermint-flavored Atone-Mints or devilishly red-hot Sin-o-Mints. and offerings by Sam.
Richard Dawkins. An especially warped and disgusting application of the flawed concept of retribution is Christian crucifixion as "atonement' for "sin'.
As Christians mark Good Friday, commemorating when the Bible says Jesus died for the sins of all, a new book argues that such an understanding of sin is not only mistaken. the recent bestselling.
Quantum Insurance Agent Login Search Homes for Sale in Northeast Ohio, Columbus & Central Ohio, Cincinnati & Northern Kentucky with Cutler Real Estate. Create Property Alerts and work with an agent you can trust. On day 11, you'll embark on board Royal Caribbean International's Quantum of the Seas and start the third part of your journey. Sail to Port
sin-punishing, prayer-answering God of the Bible, of priests, mullahs and rabbis, and of ordinary language. Deliberately to confuse the two is, in my opinion, an act of intellectual high treason. ·.
Viewing the problem this way helps make sense of Protestant America's especially negative attitude toward atheists—in their mind, atheists choose to reject God, an unforgivable sin. It also. like.
A Summary of The God Delusion by Richard Dawkins (2006), Bantam Press. Phil Edwards. punishing sins, intervening in the world by performing miracles.
In contrast to his stern and authoritarian predecessor, George Pell, Fisher carried himself with a relaxed charm, happy to joke about his "strange clothes" and former life of sin – he was. God made.
One of the major complaints non-believers level against Christianity is that the churches are full of hypocrites. This page examines what Jesus and the Bible have to say about hypocrisy among those who claim to be Christians.
Apr 12, 2017. My dialogue partner will be Richard Dawkins, who is well-known both as a. The Christian language of sin both affirms and attempts to explain.
What To Pathologists Do and Pathologists' Assistants students. We hope this will be helpful while you are with us. PA PROGRAM CONTACT INFORMATION. Dr. Sanford Stass, Chair. Feb 27, 2019. It involves the examination of tissues, organs, bodily fluids and autopsies in order to study and diagnose disease. Currently, pathology can be. How Do You Cite A Peer Reviewed
The Root of All Evil?, later retitled The God Delusion, is a television documentary written and presented by Richard Dawkins in which he argues that humanity would be better off without religion or belief in God. The documentary was first broadcast in January 2006, in the form of two 45-minute episodes (excluding advertisement breaks), on Channel 4 in the United Kingdom.
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The Supreme Court –...
The Supreme Court – Final but Infallible?
Namit Saxena
22 Feb 2018 9:32 AM GMT
Last few months have been very eventful for the Supreme Court. A lot was shared, a lot was informed, a lot was discovered. In fact a lot of ink has flown on it as well. I, therefore, refrain from going into the flashback. I will restrict myself to two orders passed yesterday by the court and will attempt to answer few legal questions surrounding them. The past events remain important,...
Last few months have been very eventful for the Supreme Court. A lot was shared, a lot was informed, a lot was discovered. In fact a lot of ink has flown on it as well. I, therefore, refrain from going into the flashback. I will restrict myself to two orders passed yesterday by the court and will attempt to answer few legal questions surrounding them. The past events remain important, howsoever, to understand the context of Part – II of this article.
Part – I
The Supreme Court bench comprising of Chief Justice Dipak Misra, Justice DY Chandrachud and Justice AM Khanwilkar granted stay on all criminal proceedings against an actress Priya Prakash Varrier and the director of the Malayalam film 'Oru Adaar Love', Omar Abdul Vahab. The court also issued notice to the states of Telangana and Maharashtra.
I ask myself three questions –
Whether the Supreme Court can be approached directly for quashing of a criminal complaint against a citizen by way of a prerogative writ?
Whether the Supreme Court, if approached ought to direct the parties to approach the appropriate forum first, get the statutory remedies exhausted first and then come to it, if necessary?
Is it settled law that if a statute prescribes something to be done in a particular manner, it should be done in that manner alone or should not be done at all?
Let me now make an attempt to answer them.
Under Article 32 read with Article 142, the Supreme Court has ample powers not only to quash a criminal complaint but also direct registration of a criminal complaint as well. However, having a power, exercise of such power and conditions of exercise of such power are three entirely different things. Having a power does not necessarily mean to exercise it in every case. Shakespeare wrote - "O! it is excellent /To have a giant's strength, /but it is tyrannous /To use it like a giant." Further, the conditions on exercise of the extra ordinary power under Article 32 in quashing criminal cases are very strict.
The Supreme Court has time and again held in a plethora of cases that one must exhaust statutory remedies before knocking the doors of the Court. [See - PN Kumar And Anr. vs. Municipal Corporation Of Delhi - (1987) 4 SCC 609 and Satish Chandra vs Registrar Of Cooperative Societies - (1994) 4 SCC 332]. It in fact helps the litigant by saving a mode of appeal. Further, a dismissal or any finding by the Supreme Court can overturn the entire scheme of allegations directly.
For quashing a criminal complaint, the correct forum as per law in the high court of the respective state. If there are 2 complaints falling in different jurisdictions, respective High Courts can be approached under Section 482 CrPC or in some cases under Article 226.So the statute prescribes a particular manner in which criminal complaints can be sought to be quashed. It is a trite law that if a statute prescribes something to be done in a particular manner, it should be done in that manner alone or should not be done at all. [See – Babu Verghese v Bar Council of Kerala (1999) 3 SCC 422, Captain Sube Singh v Lt Governor of Delhi (2004) 6 SCC 44, State of Jharkhand v Ambay Cements (2005) 1 SCC 368]. The Supreme Court therefore must not entertain petitions under Article 32 seeking quashing when the correct forum and the correct manner is to approach the High Court and exhaust the statutory remedies first. The Supreme Court in fact went one step ahead in the present case and gave a blanket ban on registration of any FIR or any private complaint against the petitioners. The correct course of action, subject to my limits of comprehension should have been to dismiss the petition with liberty to the petitioners to approach the respective High Courts for quashing and seeking no coercive steps.
Part – II
Recently, by 2:1 majority, a three-judge bench in Indore Development Authority v Shailendra (Dead) Through Lrs. And Ors (J1) had held that the decision by another three-judge bench in Pune Municipal Corporation & Anr v Harakchand Misirimal Solanki (J2), was per incuriam, observing that there is no lapse of acquisition due to the non-deposit of amount under the provisions of old and new land acquisition Acts. Another 3-judge bench (J3) yesterday, requested the other Supreme Court benches and the high courts to not to deal with any cases relating to the interpretation of or concerning Section 24 of the new land Act and apparently stayed the operation of J1. Interestingly all J1, J2 and J3 are 3-judge benches of the Supreme Court.
By the time, this story is published, there is news that the J1 bench has referred the matters to the CJI for constituting an appropriate bench.
At this juncture let us deal with the concept of obliteration of precedents. A precedent can be obliterated in 6 ways i.e. –
By a subsequent legislation against it.
If it is reversed/affirmed on a different ground.
If the judgment was duly rendered per incuriam.
If the historical considerations of earlier decision change or cease to exist.
If the judgment was passed sub silentio.
If the judgment stands reversed or overruled.
Therefore J1 upsetted the doctrine of Stare Decisis. The principle of stare decisis is embedded in latin Maxim 'stare decisis et non quietamovere', firmly entrenched in the British system of doctrine of binding precedent and embodied in Article 141 of the Constitution which provides that the law declared by Supreme Court shall be binding on all courts within the territory of India. 'Stare decisis' means 'to stand by decided cases'. We have a hierarchy of courts. The Supreme Court is at the top of pyramid. It decides cases with a seal of finality. The decision is an authority for what it actually decides.
The Supreme Court does not regard itself bound by its own previous decisions and feels free to overrule them if it thinks that to be necessary. As early as 1955, in Bengal Immunity Co. v State of Bihar, the court expressed the opinion that it was not bound by its earlier judgments; it could reconsider its own previous decisions; it possessed the freedom to depart from them, or even overrule then whenever it thought fit to do so to keep pace with the needs of changing times. There was nothing in the Constitution against such a course of action. Judicial opinions on constitutional questions are not immutable.
A 5-judge bench of the Supreme Court in Central Board Of Dawoodi Bohra v State Of Maharashtra & Anr, while discussing the legal propositions relating to judicial discipline, laid down the following law –
"(1) The law laid down by this Court in a decision delivered by a Bench of larger strength is binding on any subsequent Bench of lesser or co-equal strength.
(2) A Bench of lesser quorum cannot doubt the correctness of the view of the law taken by a Bench of larger quorum. In case of doubt, all that the Bench of lesser quorum can do is to invite the attention of the Chief Justice and request for the matter being placed for hearing before a Bench of larger quorum than the Bench whose decision has come up for consideration. It will be open only for a Bench of co- equal strength to express an opinion doubting the correctness of the view taken by the earlier Bench of co- equal strength, whereupon the matter may be placed for hearing before a Bench consisting of a quorum larger than the one which pronounced the decision laying down the law the correctness of which is doubted.
(3) The above rules are subject to two exceptions : (i) The abovesaid rules do not bind the discretion of the Chief Justice in whom vests the power of framing the roster and who can direct any particular matter to be placed for hearing before any particular Bench of any strength; and (ii) In spite of the rules laid down hereinabove, if the matter has already come up for hearing before a Bench of larger quorum and that Bench itself feels that the view of the law taken by a Bench of lesser quorum, which view is in doubt, needs correction or reconsideration then by way of exception (and not as a rule) and for reasons it may proceed to hear the case and examine the correctness of the previous decision in question dispensing with the need of a specific reference or the order of Chief Justice constituting the Bench and such listing."
Unlike the US Supreme Court where all judges sit together, our Supreme Court sits in different benches and combinations. Perhaps this is why our Supreme Court has time and again being called 'judge-centric' or as now critics use - 'bench centric'. The recent developments do not push the court in a positive direction. The court is undeniably going through a crisis. It needs to introspect. George Orwell wrote – "To see what is in front of one's nose, needs a constant struggle." Hopefully, wisdom will prevail. Till then, fingers crossed!
Namit Saxena is a Lawyer practicing in the Supreme Court of India. The author can be reached at namitsaxenaoffice@gmail.com
[The opinions expressed in this article are the personal opinions of the author. The facts and opinions appearing in the article do not reflect the views of LiveLaw and LiveLaw does not assume any responsibility or liability for the same]


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You are at:Home»Hero of the week»The FORRESTAL Sailors
The FORRESTAL Sailors
By Jeff Bacon on	 August 20, 2009 Hero of the week, Stories
At 10:52 am on July 29, 1967 a Zuni rocket was accidentally launched from an F4 Phantom sitting on the flight deck of USS FORRESTAL (CVA-59). The rocket shot across the deck and impacted a fuel tank of an A4 Skyhawk, spilling thousands of gallons of JP5 fuel across the deck and igniting a raging inferno.
The flames caused live bombs on nearby aircraft to explode, and soon the fire was out of control. Brave firefighters fought their way toward the fire, only to be killed as more explosions erupted. Sailors were trapped in berthing compartments beneath the flight deck, and many were doomed to die from the fire and heat.
But the FORRESTAL Sailors kept fighting. With most of the experienced flight deck firefighters gone, new faces showed up to continue the battle. After thirteen hours the fire topside was out; the fires below deck took another twelve hours to die.
The conflagration took the lives of 134 FORRESTAL Sailors, and became the defining, tragic event that followed the ship its entire life.
But the story of FORRESTAL isn't about the fire. What really defines America's first supercarrier is the character of her Sailors.
You can see evidence of their mettle in old footage from the fire. Men ran toward the flames, even those lacking training or protective gear. Chief Petty Officer Farrier was one of the first to rush into the inferno in an attempt to put out the fire before it could spread. He warned off his men and went in alone, almost certainly knowing that ordnance would explode any second. He gave his life in an attempt to save the ship. And there were many others.
That character has not been diminished by time. FORRESTAL Sailors still keep in touch, still remember, and still honor their fallen shipmates 42 years after the disaster. In fact the FORRESTAL Association is one of the strongest and more active veteran/alumni associations around.
Every year its member gather in Norfolk at the Farrier Fire Fighting Facility to honor those who lost their lives, as well as those who served aboard the mighty ship throughout her life of service.
This year, a special memorial and presentation took place as well in Washington, D.C. About sixty FORRESTAL Association representatives and surviving family members gathered to pay tribute to fallen shipmates at the Vietnam Wall and at the FORRESTAL gravesite at Arlington National Cemetary.
They also took part in a dedication ceremony, at which a replica model of a RA-5C Vigilante from RVAH-11 (a squadron aboard FORRESTAL at the time of the fire) was donated to the Cold War Gallery at the Navy Museum. The model had been commissioned by the son and daughter of then CDR Tom Kilcline, Commanding Officer of RVAH-11 at the time of the fire. CDR Kilcline's back seater was LCDR Vince Monroe, who was later killed in combat action over Vietnam. Both of their names appear on the replica.
CDR Kilcline eventually rose to the rank of Vice Admiral, as did his son, VADM Tom Kilcline, Jr., Commander of Naval Air Forces.
VADM Kilcline, Michael McLeod (model maker), and Mrs. Mary Kilcline Novak
These ceremonies are just a few examples of what takes place at the end of July every year, but they give evidence to the enduring character of those Sailors who served aboard FORRESTAL, and who refuse to forget those left behind.
They are our heroes of the week.
Our heavenly Father, we see this day as one minute and yet a lifetime for all of us. We thank you for the courage of those who gave their lives in saving their shipmates today. We humbly ask You to grant them peace and to their loved ones the consolation and strength to bear their loss. Help us to renew the faith we have in You. We thank You for our own lives. May we remember You as You have remembered us today. From our hearts we turn to You now, knowing that You have been at our side in every minute of this day. Heavenly Father, help us to rebuild and reman our ship, so that our brothers who died today may not have made a fruitless sacrifice.
Offered by Captain John K. Beling, Commanding Officer, USS Forrestal, July 29, 1967
Veterans Day – 100 years
Brad Jones on August 20, 2009 9:04 pm
Thanks for the nice article, Jeff. As usual, you do all of us proud!
You're right, though. We'll never forget our lost shipmates.
RVAH-11
USS Forrestal (CVA-59)
USS Kitty Hawk (CVA-63)
jennsalazar08 on August 25, 2009 9:14 pm
Thanks, Sir! My father was on the USS Forrestal from 1967-1968 (as an AS and later retired as a Senior Chief) and also served on the USS Bonhomme Richard (CV-31)., which really makes this bittersweet. Thanks for this article and also for visiting the legacy (BHR) this past week. GO METOC!
My dad passed away in 2000, but he LOVED the Navy and loved your cartoons!
Bacon on August 25, 2009 10:49 pm
Jenn – Thanks for the note. It means the world to me. Given your father's association with FORRESTAL and BONHOMME RICHARD, I can understand your bittersweet feelings. My father passed away 12 years ago (almost to the day), and was in the Navy for just two years in WWII. It changed his life and he never lost his love of the service. That's why I wore the uniform so proudly. Thanks for your father's service, and for yours. Next time we cross paths, I hope we have more time to talk than what a brief handshake in the pasageway affords.


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Unique of its kind in the world, the annual book design competition Best Book Design from all over the world has been held in Leipzig since 1963. Since 1991 the Stiftung Buchkunst in Frankfurt am Main and Leipzig has been responsible for overseeing it. The international competition assesses books which have previously been judged and singled out for merit by specialist panels in their respective countries of origin. In 2017, again, an independent, international jury convened in Leipzig with the task of selecting 14 outstandingly designed books. Here are the 14 awarded publications from almost 600 of the best books from 32 countries: The best of the best!
The CAC reading room is open for the public Monday through Friday from 12-8 pm.
The exhibition is organized by 6pt conference and supported by Lithuanian Council for Culture and Papyrus Lietuva.


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Thursday, Jun 4 2020
People With Type A Blood Far More Likely To Have Severe Case If Infected With Virus
Researchers are finding genetic links to why patients react so differently to the virus. No one knows why Type A blood would play a role. "That is haunting me, quite honestly," said Andre Franke, a molecular geneticist at the University of Kiel in Germany. In other scientific news: asymptomatic cases, infection risks and convalescent plasma.
The New York Times: Genes May Leave Some People More Vulnerable To Severe Covid-19
Why do some people infected with the coronavirus suffer only mild symptoms, while others become deathly ill? Geneticists have been scouring our DNA for clues. Now, a study by European scientists is the first to document a strong statistical link between genetic variations and Covid-19, the illness caused by the coronavirus. Variations at two spots in the human genome are associated with an increased risk of respiratory failure in patients with Covid-19, the researchers found. One of these spots includes the gene that determines blood types. (Zimmer, 6/3)
Reuters: Explainer: Are Asymptomatic COVID-19 Patients Safe Or Silent Carriers?
China said 300 symptomless carriers of the novel coronavirus in Wuhan, the epicentre of the pandemic, had not been found to be infectious, in a bid to reassure people as countries ease restrictions. But some experts say asymptomatic infections are common, presenting a huge challenge in the control of the disease. (Cadell and Liu, 6/3)
The Associated Press: Can I Get COVID-19 Through My Eyes Or Ears?
Can I get COVID-19 through my eyes or ears? It's possible through the eyes, but not likely through the ears. As with the nose and mouth, doctors say the eyes may be a route of infection if someone with the virus coughs or sneezes nearby. Infection is also possible when rubbing your eyes with hands that have been exposed to the virus. (6/4)
CIDRAP: Obesity, Atypical Immune Response In Some Kids With COVID-19
A retrospective single-center case series of 50 hospitalized pediatric COVID-19 patients in New York City found that respiratory symptoms were common but not ubiquitous, that most children had underlying illnesses, and that obese patients were likely to require mechanical ventilation. A separate single-center case series published today in JAMA Network Open found that that pediatric COVID-19 patients with moderate disease had higher levels of the inflammatory marker interleukin 10 and lower levels of neutrophil immune cells than those with mild illness, suggesting that the virus may be associated with abnormal immune responses. (Van Beusekom, 6/3)
Reuters: Convalescent Plasma Not Helpful In China Study; Hydroxychloroquine Doesn't Prevent Infection
Infusions of antibody-rich blood plasma from people who have recovered from the coronavirus, so-called convalescent plasma, failed to make a difference in a study of hospitalized patients in China, researchers reported on Wednesday in the Journal of the American Medical Association. In a randomized trial involving 103 COVID-19 patients, convalescent plasma made no difference in the time it took to show signs of improvement or in rates of death at 28 days versus a placebo. (Lapid, 6/3)


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