For continuing coverage of the Rana Plaza factory collapse in Savar, Bangladesh check out these great articles & actions:
- SIGN this petition: Walmart, H&M and Gap: Do your part to stop the murders of garment workers in Bangladesh http://action.laborrights.org/p/dia/action/public/?action_KEY=6280 (learn more at International Labor Rights Forum: http://www.laborrights.org/)
- WATCH this great video: Survivor of Bangladesh’s Tazreen Factory Fire Urges US Retailers to Stop Blocking Worker Safety (Democracy Now) http://www.democracynow.org/2013/4/25/survivor_of_bangladeshs_tazreen_factory_fire
- Why aren’t Bangladesh factories safer? For one reason, companies like Wal-Mart and Gap have nixed proposals for independent inspections as being too costly and binding. http://on-msn.com/14lzdD4
- ‘Bargain Basement’ Clothes To Blame for Bangladesh Factory Collapse, and Other Deadly Disasters: NGOs say http://huff.to/XZhmgq
- Statement by Human Rights Watch: Bangladesh - Tragedy Shows Urgency of Worker Protections http://www.hrw.org/news/2013/04/25/bangladesh-tragedy-shows-urgency-worker-protections
- DONATE: I have started a fundraiser on Fundly, SOLIDARITY WITH BANGLADESHI GARMENT WORKERS —- the money will go directly to labor organizing efforts in Bangladesh! http://fundly.com/mxxos2cq
or for general support work you can donate directly to the International Labor Rights Forum https://afl.salsalabs.com/o/4058/c/607/p/salsa/donation/common/public/?donate_page_KEY=70 -
"Yes, the long war on Christianity. I pray that one day we may live in an America where Christians can worship freely! In broad daylight! Openly wearing the symbols of their religion… perhaps around their necks? And maybe — dare I dream it? — maybe one day there can be an openly Christian President. Or, perhaps, 43 of them. Consecutively."
"The real aim of colonialism was to control the people’s wealth: what they produced, how they produced it, and how it was distributed. Colonialism imposed its control of the social production of wealth through military conquest and subsequent political dictatorship. But its most important area of domination was the mental universe of the colonised, the control, through culture, of how people perceived themselves and their relationship to the world. Economic and political control can never be complete or effective without mental control. To control a people’s culture is to control their tools of self-definition in relationship to others. For colonialism this involved two aspects of the same process: the destruction or the deliberate undervaluing of a people’s culture, their art, dances, religions, history, geography, education, orature and literature, and the conscious elevation of the language of the coloniser. The domination of a people’s language by the languages of the colonising nations was crucial to the domination of the mental universe of the colonised.
The language of an African child’s formal education was foreign. The language of the books he read was foreign. The language of his conceptualisation was foreign. Thought, in him, took the visible form of a foreign language. So the written language of a child’s upbringing in the school (even his spoken language within the school compound) became divorced from his spoken language at home. There was often not the slightest relationship between the child’s written world, which was also the language of his schooling, and the world of his immediate environment in the family and the community. For a colonial child, the harmony existing between the three aspects of language as communication was irrevocably broken. This resulted in the disassociation of the sensibility of that child from his natural and social environment, what we might call colonial alienation. The alienation became reinforced in the teaching of history, geography, music, where bourgeois Europe was always the centre of the universe."
Decolonising the Mind: The Politics of Language in African Literature - Ngũgĩ wa Thiong’o (via abstractverses)
"Rap music is so diverse in its themes, its style, its content but when it becomes a vehicle to be talked about in mainstream news, the rap that gets in national news is always the rap music that perpetuates misogyny that is most obscene in its lyrics and then this comes to stand for what rap is. Really its for me the perfect paradigm of colonialism, that is to say, we think of rap music as a little third-world country, that young white consumers are able to go to and take out of it whatever they want. We would have to acknowledge that what young white consumers, primarily male, oftentimes suburban, most got energized by in rap music was misogyny, obscenity, pugilistic eroticism and therefore that form of rap began to make the largest sums of money."
bell hooks, cultural criticism — rap: authentic expression or market construct? (via sukforhonesty)
the last two sentences of each are so powerful
BEST SEINFELD EVER.
JERRY: So did they, uh, uncross the lines, yet?
DONNA: No. They can’t find the problem. It’s really getting ridicurous.
JERRY: ………..Did you say, “ridicurous”?
JERRY: …..I thought you said… “ridicurous.” [he and she look at each
(via The Chinese Woman)
Like Someone in Love
“When I was writing the script I wasn’t thinking about a title. But then came this scene where the stone breaks the window. All of a sudden I wrote ‘The End’, in English, and the version of ‘The End’ that came to my mind was that of the title at the end of classic black-&-white American films, even down to the font… When I started searching for music for the moment the girl enters the old man’s apartment, it came naturally that as someone from my generation, he would listen to jazz. The first album I took off my shelf was Ella Fitzgerald and I just bumped into this song, ‘Like Someone in Love’, which I thought was a nicer title. Once I shot the actual ending I thought ‘The End’ might lead to some misunderstanding, as if I meant that the character died. The phrase itself sounds good to me, too. There is nothing determined and definitive about love. It’s better to say that we are like someone in love rather than asserting that we are in love. Death or birth are definitive; love is nothing but an illusion. We have in this film four people who are like some people in love. […] I’m sure that we can never be the witness of a story from its beginning to its end. I would say that this film doesn’t have an adequate opening and it doesn’t have a real ending either, but it also proves my idea that all films start before we get into them and they end after we leave them… I don’t mean to create a distance from the spectator; I want to remind them that they should have the same inquiring spirit for films as in life. If you’re curious you will definitely find enough information – you don’t need more, and whenever we’re given more, we don’t accept it. A good example is pornographic films, which give us too much. That’s not the way it is in real life: it goes against emotions, feelings, sex even. Too much information is a kind of pornography.”