the okey doke
WATCH: Egypt Scene “Richard Pryor Show” 1977
Denzel Once Turned Down A Movie Role So Racist He Thinks It Could Have Changed His Career
i’ve not looked into this. you may be so inclined.
Pac stood up, and it’s the first thing you heard him say in like, two weeks of court. ‘You know, your honor, throughout this entire court case, you haven’t looked me or my attorney in the eye once. It’s obvious that you’re not here in the search for justice, so therefore, there’s no point in me asking for a lighter sentence. I don’t care what you do cause you’re not respecting us, this is not a court of law; as far as I’m concerned, no justice is being served here, and you still can’t look me in the eye. So I say, do what you wanna do, give me whatever time you want, because I’m not in your hands, I’m in God’s hands.
Butterfly eggs on a raspberry plant
A micro-crack in steel
Needle and thread
E.coli bacteria on lettuce
Beard hairs under a scanning electron microscope: cut with razor (left) and electric shaver (right)
A moth wing
Leaf of a Virginia spiderwort
“Can the ubiquitous language of commodity culture and advertising be employed to speak to, and about, more than merchandise and celebrity? If so, to what end?”— Hank Willis Thomas
About an hour northwest of New York City, a small museum, The Aldrich Contemporary, is exhibiting from now until late September, the work of an artist who will make you think. Hank Willis Thomas’s series, “Strange Fruit,” isn’t pulling any punches. The title of a famous Billie Holiday song written to protest southern lynchings and racist violence, “Strange Fruit,” in the 21st Century, has even greater connotations.
Thomas’s images confront and provoke. They’re beautiful and they’re troublesome. Their impact, however, will be mitigated by what the viewer brings to the experience. For the values and ideas we all bear, frame our interpretations. I find these images potent and dark. They’re reminders of the complexities surrounding economics, history, race and class in our visual culture. But what others see, I can’t say. And like Hank Willis Thomas, I also ask, “If so, to what end?” —Lane Nevares