DIGITAL MARTYRS

#BlueLivesMatter where y'all at????????

(original image credit: Clay Bennett)

Woman in hijab in non-Muslim country: *gets catcalled with the added bonus of getting called terrorist for not reciprocating*

Remy Ma and Lil Kim’s New Track “Wake Me Up” is an Instant Classic

Red Bank Sanctuary City

​"Where are the women?“ A visitor to San Francisco’s Chinatown in the 1850s might ask such a question after seeing an ocean of Chinese men in blue denim garb and long queues on the dusty streets. "Go to the theatre!” That would be one of the obvious answers, as the scarcity of women was “corrected” on stage, where Cantonese opera would offer what appeared to be a gender-balanced depiction of Chinese life. However, a closer look at theatrical conventions in the nineteenth century exposes the falsehood of such a claim: women were generally barred from the stage, and all the female parts were played by men! The first Cantonese opera in California was essentially a male art. However, during the past century and a half, social, cultural, political, and economic factors have all contributed to the transformation of Cantonese opera in the Bay Area. Cantonese opera, a “dying” art by many people’s reckoning, is surviving in the Bay Area mainly due to the effort of a small group of women. In contrast to their marginalized role in early immigrant history, women today play a very important part in sustaining, preserving, practicing, and disseminating traditional Chinese opera in the Bay Area. The metamorphosis from a male art (all-male cast playing for an essentially all-male audience) in the nineteenth century to a largely female art today is a fascinating process. This essay will focus on the significance of this transformation, and especially on the contribution of contemporary women in the Bay Area.

I Knew Her Well (1965, dir. Antonio Pietrangeli)

Untitled, New York, 1963. From Civil Rights, 1963-70.