August 21, 2014


August 18, 2014


You realize that everything the police are doing in Ferguson is carefully calculated, right? They’re purposely turning peaceful protests into riots. They’re purposely committing violence to incite violence. From saying ‘We won’t be answering 911 calls,’ which is a very clever way to set themselves up to be able to say, ‘We were afraid for our safety - any call could really be an ambush, our lives were in danger’ right down to the camouflage and the military tanks and wearing more body armor than a soldier in a war zone. Its exactly why they’re going for a media blackout - yet allowing certain photos through - they WANT you to see their tanks. They want you to see their riot gear. They WANT you to see a war-zone. They’re trying to sell the world the idea that this community is inherently and constantly a source of violence and turmoil - they want you to think that they [the police] are being attacked daily in a place so vicious they need full body armor. You know why? Because then, at the end of the day, you might just be able to believe the story they’re going to spin. They’re going to tell you that this (white) officer goes to work in this war zone every day - that he spends every working moment in constant fear for his life. They’re going to tell you that Michael Brown attacked this officer. And then they’re going to bring up everything that has happened in the aftermath and try to use it to convince you that he shot that little boy because he was afraid for his life. They’re setting up a defense. You mark my words, they’re trying to set up a defense.

My mom’s take on what’s going on in Ferguson (via actualbanshee)

Your mom isn’t wrong. That’s why it’s so important to keep the signal going. Too many are silenced with lies and fear and if they cannot speak then we have to do it for them.

(via auntpol)

SING IT FOR THE CHILDREN!

(via sonofbaldwin)

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August 17, 2014


If you’re poor, the only way you’re likely to injure someone is the old traditional way: artisanal violence, we could call it – by hands, by knife, by club, or maybe modern hands-on violence, by gun or by car.

But if you’re tremendously wealthy, you can practice industrial-scale violence without any manual labor on your own part. You can, say, build a sweatshop factory that will collapse in Bangladesh and kill more people than any hands-on mass murderer ever did, or you can calculate risk and benefit about putting poisons or unsafe machines into the world, as manufacturers do every day. If you’re the leader of a country, you can declare war and kill by the hundreds of thousands or millions. And the nuclear superpowers – the US and Russia – still hold the option of destroying quite a lot of life on Earth.

So do the carbon barons. But when we talk about violence, we almost always talk about violence from below, not above.

Let’s Call Climate Change What It Really Is—Violence | Alternet (via guerrillamamamedicine)

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June 6, 2014


thesmithian:

…subway strike already set a record…for morning gridlock in Sao Paulo…and snagged several FIFA officials in over two hours of traffic as they arrived for a conference ahead of the World Cup. The Sao Paulo metro is the main link to the city’s World Cup host stadium, and the strike could force organisers to come up with last-minute alternative transportation for tens of thousands of fans.

more.

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adrian piper, catalysis VI (new york, 1970 performance)

“Piper’s Catalysis was a series of conceptual performances in Manhattan that violated social norms of public behaviour. Photographs document the artist bearing a WET PAINT sign in a crowded street, stuffing her mouth with a towel on public transportation, wearing smelly clothes inside a store, and playing a recording of belching sounds inside a library. Piper never announced that she was performing; unlike televised pranks, the interventions offered no moment of revelation for the strangers who witnessed her behaviour. By escaping the confines of the art context, Piper risked appearing repellent, if not crazy. Acting as a catalytic agent for chance reactions, she dissolved the boundary between art and life.”

adrian piper, catalysis VI (new york, 1970 performance)

“Piper’s Catalysis was a series of conceptual performances in Manhattan that violated social norms of public behaviour. Photographs document the artist bearing a WET PAINT sign in a crowded street, stuffing her mouth with a towel on public transportation, wearing smelly clothes inside a store, and playing a recording of belching sounds inside a library. Piper never announced that she was performing; unlike televised pranks, the interventions offered no moment of revelation for the strangers who witnessed her behaviour. By escaping the confines of the art context, Piper risked appearing repellent, if not crazy. Acting as a catalytic agent for chance reactions, she dissolved the boundary between art and life.”

(Source: endthymes)

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THE MORE WE DEMAND FROM THE UNIVERSE, THE MORE THAT IS DEMANDED FROM US. THE MORE WE GIVE AWAY, THE MORE THAT IS GIVEN TO US.

dr. wayne w. dyer (via nakimuli) (via ahnka) (via laeticia)

this sounds right to me

(via ancientish) (via lebeam)

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and I visit this page for my submitted application for the sundance institute’s New Frontiers Story Lab- just blinking.  I really can’t believe it.  *fingers, eyes, legs crossed*  send me your good vibez-

and I visit this page for my submitted application for the sundance institute’s New Frontiers Story Lab- just blinking.  I really can’t believe it.  *fingers, eyes, legs crossed*  send me your good vibez-

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sundance new frontiers story lab :D

bootlegqueen:

 



wliabl:

Cleopatra’s Underwater Palace, Egypt 

bootlegqueen:

 

wliabl:

Cleopatra’s Underwater Palace, Egypt 

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