JP BEVINS RED HOOK CRIT WOMENS PORTRAITS
I’m a sucker for a good set of portraits and JP did an incredible job with these.
"Despite the weather conditions, despite a crash during the women’s race that left a racer with a broken collarbone, despite having to travel across the country, overseas, or from their home on the other end of Brooklyn, these women are amazing. I’m honored I was able to shoot them."
Head over to nolifelikethislife.com to see more of JP Bevins’ work.
Sunlight In A Jar - The Lucksmiths
it’s about self competency. not competition.nayyirah waheed (via nayyirahwaheed)
WordsAnne Sexton, from The Awful Rowing Toward God (Houghton Mifflin, 1975)
Be careful of words,
even the miraculous ones.
For the miraculous we do our best,
sometimes they swarm like insects
and leave not a sting but a kiss.
They can be as good as fingers.
They can be as trusty as the rock
you stick your bottom on.
But they can be both daisies and bruises.
Yet I am in love with words.
They are doves falling out of the ceiling.
They are six holy oranges sitting in my lap.
They are the trees, the legs of summer,
and the sun, its passionate face.
Yet often they fail me.
I have so much I want to say,
so many stories, images, proverbs, etc.
But the words aren’t good enough,
the wrong ones kiss me.
Sometimes I fly like an eagle
but with the wings of a wren.
But I try to take care
and be gentle to them.
A cartoon by David Sipress. For more cartoons from this week’s issue: http://nyr.kr/M6FRWb
Eavan Boland, from “What Language Did,” In a Time of Violence: Poems (W. W. Norton & Co., 1994)
This is what language did to us. Here
is the wound, the silence, the wretchedness
of tides and hillsides and stars where
we languish in a grammar of sighs,
in the high-minded search for euphony,
in the midnight rhetoric of poesie.
We cannot sweat here. Our skin is icy.
We cannot breed here. Our wombs are empty.
Help us to escape youth and beauty.
Write us out of the poem. Make us human
in cadences of change and mortal pain
and words we can grow old and die in.
Arexis Fongman: A Case Study on Casual Racism
Update as of Jan 25, circa 2am: Alexis Fishman has issued an apology via Twitter stating that she ‘never intended offense’ and that her page was a ‘poor attempt at parody’. Though she is missing the point a bit as to why her profile was problematic in the first place and sticks to her story that it was parody, her regret does seem genuine. In any case, it seems she is feeling the full consequence of her actions now. Hopefully the lesson is learned not just by her, but by her fans and others like her.
First and foremost, thanks to Wall Street Journal columnist Jeff Yang and composer/lyricist Timothy Huang for bringing this to attention.
Alexis Fishman, at first sight, seems like a perfectly average woman. She graduated in 2004 from a performing arts school in Western Australia and went on to pursue a career in the arts, now ‘based permanently in New York’, as per her official website. Her performer’s page is professional, her website is tastefully metropolitan, and the posts on her personal Facebook give no indication of strange or deviant social behavior. She is, in essence, the typical young woman trying to make a name for herself in the performing arts industry. Why, then, has she created a Facebook profile dedicated solely to the enthusiastic spread of what amounts to racist garbage? Internet, meet Arexis Fongman.