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Black Panthers (Agnès Varda, 1968)

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Institutionalized racism

It’s taken us too long to post this on Tumblr, we’re sorry. We’ve compiled a syllabus that is free to all that addresses institutionalized racism and how it’s caused historic, pointed harm at the Black community in the U.S. Understanding history is key to understanding the present, and in order to make real changes, we need to fully understand the racist history of the U.S. Black Lives Matter.

Find it here: https://daily.jstor.org/institutionalized-racism-a-syllabus/

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“Voguing came from shade because it was a dance that two people did because they didn’t like each other. Instead of fighting, you would dance it out on the dance floor. And whoever did the better moves was throwing the best shade, basically.

You could take the pantomime form of the vogue this is what, generally, sometimes I do is I make my hand into a form like a compact or a makeup kit. And I’m, like, beating my face with blush, shadows, or whatever, to the music. Then, usually, I’ll turn the compact around to face that person… meaning, like, almost like my hand is a mirror for them to get a look. Then I’ll start doing their face, because what they have on their face right now needs a dramatic makeup job. So voguing’s like a safe form of throwing shade.

The name was taken from the magazine Vogue, because some of the movements of the dance are also the same as the poses inside the magazine. The name is a statement in itself. I mean, you really wouldn’t go to a ball to do the “mademoiselle.”

Like break dacing, the dance takes from the hieroglyphics of ancient Egypt. It also takes from some forms of gymnastics. They both strive for perfect lines in the body, awkward positions, but it goes one step further.It’s starting to make a name for itself, but I want it to be known worldwide and I want to be on top of it when it hits. I want to take voguing not to just Paris is burning, but I want to take it to the real Paris and make the real Paris burn. That’s what I want to do and not just there, but to other countries as well. My house name is Ninja, and I would really like to take my whole house and go to Japan and really let loose and do it and have them accept it there. I want to be a big star.“

– Willi Ninja PARIS IS BURNING (1990), dir. Jennie Livingston.

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It’s like - I go out there and the music starts and you begin to feel it - and your body just starts to move. I know it sounds really silly. But, something inside you just clicks - and you just take off and you’re gone. It’s like you’re somebody else for a second. Some nights I - some nights I just can’t wait to get out there, just so I can disappear. Jennifer Beals as Alex Owens in Flashdance (1983) dir. Adrian Lyne

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JANELLE MONÁE Variety: Power of Women Issue 2020 › ph. Sophy Holland

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That’s what you are! You’re a goddamned drunken, horse-shitting, short, shit liar. A liar! The Lighthouse (2019) dir. Robert Eggers

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SNOWPIERCER |  설국열차  (2013) dir. Bong Joon-ho

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She eats unmarried young girls. It is the only time she can wear her wedding gown.

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Voguing is the same thing as, like, taking two knives and cutting each other up, but through a dance form. Voguing came from shade, because it was a dance that two people did because they didn’t like each other. Instead of fighting, you would dance it out on the dance floor, and whoever did the better moves was throwing the best shade, basically.

The name was taken from the magazine “Vogue”, because some of the movements of the dance are also the same as the poses inside the magazine. The name is a statement in itself. I mean, you really wouldn’t go to a ball to do the “Mademoiselle”. No way.

Like break dancing, the dance takes from the hieroglyphics of Ancient Egypt. It also takes from some forms of gymnastics. They both strive for perfect lines in the body, awkward positions, but it goes one step further. 

It’s starting to make a name for itself, but I want it to be known worldwide, and I wanna be on top of it when it hits.

- Willi Ninja, Paris is Burning (1990) dir. Jennie Livingston

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some uk petitions to sign you may not have seen:

suspend uk export of tear gas, rubber bullets and riot shields to usa

justice for belly mujinga

battle racism by updating reading lists at gcse

make white privilege and systemic racism a compulsory part of the british education course

uk parliament condemn the violence against peaceful blm protesters by the us police/military

more protection for black trans women uk

uk government must condemn trump’s response to george floyd’s murder #speakupboris

investigate the death of sheku bayou in police custody

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elaine wardrobe appreciation // the love witch (2016) costume design by anna biller

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In the Mood for Love dresses: the complete list of 20 qipaos (cheongsams)

In the Mood for Love is set in 1960s Hong Kong, where qipaos persisted in their popularity despite having virtually disappeared from mainland China. The qipaos in the film are “revised” qipaos (“revised” qipaos refer to those zipped up rather than enclosed with traditional pankous), consistent with what was popular in this era. All have exactly the same cut and style, but with a stunning variation in material, piping and adornments.

The cut is an extremely slim one, with a diagonal joint down the front of the right chest, a hemline reaching just below the knee, and two side slits. They are either sleeveless or have small capped sleeves, no pankous whatsoever, and the most striking feature of all is the high, stiff collar, sometimes almost reaching the chin. In fact, the collar of some of the dresses seem to be stiffened by an acrylic backing of sorts, as the material looks distinctly different from the rest of the qipao.

Even though most of the dresses appear at least twice in the film, Mrs Chan definitely has her favourites, with some qipaos being much more prominent than others. And that is also the way I have chosen to list them, starting with ones seen the most often and making the most visual impact.

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Black Orpheus (1959)

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Monica Bellucci by Roberto Orlandi