“…the presence of Alabama National Guardsmen was required on the University of Alabama campus to carry out the final and unequivocal order of the United States District Court of the Northern District of Alabama. That order called for the admission of two clearly qualified young Alabama residents who happened to have been born Negro.”
Draft of the President John F. Kennedy’s civil rights speech on June 11, 1963, written by Theodore S. Sorensen with notes by Robert F. Kennedy, following Alabama Governor George Wallace’s refusal to admit two African American applicants to the University of Alabama, James Hood and Vivian Malone Jones.
Click to see the full draft as well as the final speech, which was delivered by the President nationwide on radio and television.
Hannah Jacobs, a New York City mother of a teen with intellectual disability, who has spent years actively working to report offensive Facebook pages said she continues to find content on the social network each day that she considers to be problematic. She’s flagged pages with names like “I Am Retarded,” “I Hate Fat People in Wheelchairs” and one called “Retards in Cages” which remained on Facebook as of Monday with a tag indicating that it’s “controversial humor.
A lot of the time when you tell someone that you’re bisexual, they ask for your credentials. They ask how many men have you dated? How many women have you dated? Which one do you prefer? Which one have you had more sex with? These are incredibly personal questions that you wouldn’t ask a straight or gay person, but bisexuality has “less validity” so we get asked all these stupid, intimate questions. And if you don’t want to answer then someone will make assumptions about you but if you do answer, and the fact is out of the three people you fucked two of them are one gender and one of them is the other then people will decide whether you are gay or straight, they’ll make the decision for you.
The ever so brilliant and talented Ava DuVernay was on MHP Show this past weekend. She discussed independent Black film with Melissa Harris-Perry. I really love when she said this:We’re working within an industry that was founded upon a film called The Birth of A Nation. And so within that context, our stories are not valued by the industry itself; the business, the politics of this industry do not serve our storytelling. And, so it’s really important, and I think you know when you look and you study Black cinema, the times when we’ve had the most success is when we work from the outside as opposed to trying to work and trying to get in to the inside.
First of all, WELP! Secondly, great point. While it may seem like Hollywood’s first intention is to entertain, it isn’t. It is to sell ideas, concepts, create culture and reinforce the status quo, period. Her comment elucidates this. Further, a lot of mainstream entertainment exists solely to “pacify/desensitize” people into inaction. Keep them complacent.
Also, I love that she mentioned that Love Jones and House Party were originally independent films. Whaaaaa? How did I not know this? But yes, culturally relevant films that evade bland or offensive one-dimensional psuedo-humanity can exist in the independent and mainstream sphere. It just seems like the latter is truly stuck on garbage. There’s like six films (including two of Ava’s and one of her distribution organization, AFFRM, that I am dying to see.)
Compulsory able-bodiedness is not only central to the narrative of Avatar, but was also a key part of its production. Although there is not a single frame in which Jake Sully’s human body walks, an ambulatory actor (Worthington) was nevertheless cast. To provide the appearance of a paraplegic’s atrophied legs, director James Cameron commissioned the production of prosthetic legs for Worthington, and post-production, digitally edited out any trace of the actor’s actual legs. The special effects team, Legendary Effects, created these prosthetic legs by casting the legs of an actual paraplegic man.
Ten rape prevention tips:
1. Don’t put drugs in women’s drinks.
2. When you see a woman walking by herself, leave her alone.
3. If you pull over to help a woman whose car has broken down, remember not to rape her.
4. If you are in an elevator and a woman gets in, don’t rape her.
5. When you encounter a woman who is asleep, the safest course of action is to not rape her.
6. Never creep into a woman’s home through an unlocked door or window, or spring out at her from between parked cars, or rape her.
7. Remember, people go to the laundry room to do their laundry. Do not attempt to molest someone who is alone in a laundry room.
8. Use the Buddy System! If it is inconvenient for you to stop yourself from raping women, ask a trusted friend to accompany you at all times.
9. Carry a rape whistle. If you find that you are about to rape someone, blow the whistle until someone comes to stop you.
10. Don’t forget: Honesty is the best policy. When asking a woman out on a date, don’t pretend that you are interested in her as a person; tell her straight up that you expect to be raping her later. If you don’t communicate your intentions, the woman may take it as a sign that you do not plan to rape her.
If Voyager attempted to make a break with the patriarchal tendencies of Trek, those tendencies have undergone a massive retrenchment between Enterprise and the Abrams version. Indeed, the reboot is a bland rip-off of one of Voyager’s greatest episodes, the two-parter “Year of Hell.” In it, a time-traveling villain, Annorax, destroys entire timelines and worlds to restore the life of his wife, just as Eric Bana’s grimacing and tepid villain does here (though it happens with much greater complexity and pathos in the Voyager version). There is a profoundly feminist moment in “Year of Hell” in which Janeway observes, as she thwarts Annorax’s efforts to obliterate her ship and crew, “He’s trying to erase us from history.” This line has a multi-leveled resonance, especially for Trek, speaking for the erased peoples of the world, other races, women, sexual minorities. But no such line, and certainly no such resonance, resounds within the Abrams reboot.