Showing posts tagged with “words”
this broke my heart
like he looks at her like she’s his little sister
and they’re playing some game
Can I have the AU where the two that survived were Rue and Thresh? Imagine Rue finds Thresh right away and they team up and Thresh makes a pact with her — he promises if he can get them both to the end that he will make sure she is the one who goes home. Where he says, “Fuck them and their games. I’m going to protect you, little bird. I’m going to get you home.”
Watch the gamekeepers try to kill them right away because of what Thresh says. Because he’s fighting, not to win, but to protect Rue from the games. But the sponsors keep sending her and Thresh food and medicine and the Districts too because watching Thresh carry Rue through fire and get injured protecting her is too much to bear.
Can I have the AU where it’s Thresh and Rue with the nightlock, after the mutts attack and Cato is dead and it’s Thresh about to take the poison and send her home? But it’s Rue who won’t let her ‘big brother’ go alone after so many already died protecting her (imagine Katniss dies protecting her) and they decide, okay, together and…
Rue has always been the Mockingjay, but imagine that she lived.
^^^ “RUE has always been the Mockingjay, but imagine that she lived.”
“Life is going to present to you a series of transformations. And the point of education should be to transform you. To teach you how to be transformed so you can ride the waves as they come. But today, the point of education is not education. It’s accreditation. The more accreditation you have, the more money you make. That’s the instrumental logic of neoliberalism. And this instrumental logic comes wrapped in an envelope of fear. And my Ivy League, my MIT students are the same. All I feel coming off of my students is fear. That if you slip up in school, if you get one bad grade, if you make one fucking mistake, the great train of wealth will leave you behind. And that’s the logic of accreditation. If you’re at Yale, you’re in the smartest 1% in the world. […] And the brightest students in the world are learning in fear. I feel it rolling off of you in waves. But you can’t learn when you’re afraid. You cannot be transformed when you are afraid.”
“Art is the one place we all turn to for solace. We turn to it constantly, whether you are listening to music, or pop in a film; you want to escape reality, and if you thinking deeply, you want to engage in art in a complex way. Art allows us to navigate the more complicated parts of our lives in a way that is more palpable. We don’t go to the movies just to see a movie; we go for the experience. I’m very interested in the experience. Art has saved my life on a regular basis. I wanted to offer that experience to children, to enlist them, to show them the possibilities that are in the arts, to persuade them to pursue it for both their own personal salvation and for changing the way we are understood.”
“Water does not resist. Water flows. When you plunge your hand into it, all you feel is a caress. Water is not a solid wall, it will not stop you. But water always goes where it wants to go, and nothing in the end can stand against it. Water is patient. Dripping water wears away a stone. Remember that, my child. Remember you are half water. If you can’t go through an obstacle, go around it. Water does.”
CELEBRATING BLACK HISTORY MONTH | They Don’t Care About Us
“They Don’t Care About Us" is one of the most powerful protest songs to come out of the 1990s. In the midst of the intense racial and political turmoil of the time (Rodney King, race riots, O.J. Simpson, James Byrd Jr.), it delivers a targeted blow against an abusive, corrupt and oppressive apparatus of power. Interestingly while the song became a Top Ten hit in countries around the world, it failed to make it past #30 in the United States. In spite of being dismissed (and stigmatized) in the United States, however, "They Don’t Care About Us" stands as one of the strongest tracks in Jackson’s entire catalog.
The lyrics throughout the song are some of Jackson’s most compelling and provocative. “Tell me what has become of my rights”, he sings. “Am I invisible because you ignore me? Your proclamation promised me free liberty”. He later speaks of those who are victims of hate, shame, and police brutality. “You’re raping me of my pride”, he sings from the prospective of the oppressed. “I can’t believe this is the land from which I came”.
Jackson worked with renowned filmmaker Spike Lee for the songs’s two excellent music videos. The first was set in an impoverished favela in Rio de Janeiro, Brazil. Initially, local government officials attempted to block the video from being shot, fearing it would draw attention to the city’s poverty. “I don’t see why we should have to facilitate films that will contribute nothing to all our efforts to rehabilitate Rio’s image”, said State Secretary for Industry, Commerce and Tourism Ronaldo Cezar Coelho.
Yet many residents felt differently. “Everybody’s suddenly paying attention to Santa Marta, talking about social, sanitary and other conditions here”, Mr. de Souza, a local resident, told the New York Times. “It’s a poor world surrounded by a rich world, an island of misery surrounded by wealth”. Courts eventually ruled in favor of allowing Jackson and Spike Lee to film the video, which featured the singer in casual jeans and local shirts, dancing and engaging with the people in various locations throughout the city. In a crowded cobbled street, he dances alongside two hundred-member Afro-Brazilian percussion group Olodum, who bring raw energy and immediacy to the track.
While the video didn’t receive much attention in the United States, it had an international appeal and made a political statement that used Rio de Janeiro as a microcosm for poverty around the globe. Yet it also showed the vitality and energy of the people. Through music and dance, the video suggests, comes a joyful solidarity that might potentially combat oppressive barriers. - taken from Man In The Music by Joseph Vogel
Anonymous asked: I remember in my History class the teacher said we could act out skits from any era and everyone but me(the one black person there) said the 1950s so I got up and started walking out the classroom. The teacher asked me where I was going and then I was like, "Sorry, I thought I had to leave since people of color weren't allowed in the same schools in the 50s." And all the white kids were so quiet while my Hispanic classmate help up his fist to bump.
"I remember days where I’d have classmates breaking down, sobbing, because they just sucked in front of the class, and then in the evening going to see them in a production and being blown away by the magnitude of their talent. That made me more forgiving of myself, and also more daring. Because you fail, and then what? Life goes on. It’s only when you risk failure that you discover things. When you play it safe, you’re not expressing the utmost of your human experience." - Lupita Nyong’o for Backstage Magazine, February 2014
Sometimes I just want to scream at people "IT IS OKAY TO LIKE SOMETHING AND ALSO UNDERSTAND THAT IT IS PROBLEMATIC"
Because you know what? There is not a lot of non-problematic media out there and I cannot realistically only consume non-problematic media. I’m going to watch the shit out of problematic shows and enjoy them but later write angry posts about their sexism, racism and ableism. And THAT IS OKAY.
"I stood in front of the monitors watching 75 women stand in a circle, dancing and yelling while two women humped each other. Taylor Schilling, who plays Piper on the show, had hung around to watch the chaos. She leaned over to me during a take and said, “When have you ever seen this many women on screen together?” In that moment I realized we were doing something really special.”