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Posts by: Miss Rosen

War Veterans Who Have Found Peace and Healing in Vietnam

On July 21, 1954, Vietnam was split, the fractured nation a pawn of the Cold War. The communist North and the capitalist South became pitted against each other in a twenty-year war that would destroy not only the Vietnamese people and their land but countless foreign soldiers sent to fight a brutal proxy war.

The United States entered into the conflict in 1964 after the suspicious Gulf of Tonkin incident, and for the next nine years drafted American men, disproportionately from working class, Black, and Latinx backgrounds, to fight a war they could never win.

That did not stop the U.S. military from engaging in some of the most heinous acts of war, from the My Lai Massacre in 1968, wherein their gang raped women, mutilated children as young as 12, and slaughtered some 504 innocent villagers uninvolved in the conflict.

Reportage of the war was as brutal as the acts themselves, fomenting a righteous ant0war favor stateside. Public sentiment split the nation in half, with warmongers deriding anti-war protesters and eventually spurring on the National Guard shooting that left four U.S. students dead during at Kent State in Ohio in 1971.

Gavin Watson Looks Back on His Childhood as a British Skinhead

Long before the UK skinhead scene was co-opted by right-wing movements it was a culture created by the working class looking to forge a connection across the races. If first emerged on the streets of London in 1969 in response to the self-indulgent pretensions of bourgeois hippiedom. Forged in the council estates and East End slums, skinhead culture combined the style and sound of the Windrush generation with the back-to-basics aesthetics of post-war Britain. It was reborn again in the late 1970s and 80s, just as photographer Gavin Watson came of age.

By the time Watson left school at age 16, he had shot some 10,000 pictures of his friends in High Wycombe, documenting the poignant beauty of their daily lives, finding inspiration and solace in the space where rebellion, style, and self-actualization meet. In Oh What Fun We Had! (Damiani), Watson delves into his archive for a fresh look at a vastly misunderstood and misrepresented culture before the right-wing infiltrated it and spread disinformation through the mainstream media.

Beginning in 1994, with the publication of his first book skins, Watson has been on a mission to reclaim his roots and culture from those who have disrespected it. Here he shares his experiences and insights into the truth about skinhead culture — a history that can only be told by an insider.

These fantastical images celebrate the natural order of the earth

Nature is our greatest teacher, providing ample evidence of the wisdom of the earth, the cycles of life and death ever flowing from one into the next. It is here in nature that we learn the truth: the beauty and power of the sublime, the ineffable, unspeakable grandeur that existence inspires.

But with the words written in Genesis 1:26, the world has lost its way, for the very idea that we have dominion over what does not belong to us is a sin of the worst kind. We are stewards and our role is to preserve and conserve so that nature continues to provide abundance, rather than wipe us off the earth as payback for the abuses of greed, gluttony, wrath, sloth and pride that have wrought the horrors of climate change to our doorstep.

The further we remove ourselves from nature, stashed indoors and stuck behind screens, in a state of constant consumption, always needing more and never satisfied, the more perilous the payback will be, according to Newton’s Third Law: “For every action, there is an equal and opposite reaction.”

Yet it is entirely too easy to forget, to lose ourselves in the conveniences and conventions of the postmodern world, to presume that there are no consequences for our choices just because we cannot see them yet. We can rationalize the irrational until such a day the center can no longer hold, and the weight of our delusions shall break the dam, a deluge of glacial proportions.

Cruising Down “The Boulevard” of the San Fernando Valley During the 1970s

After World War II came to a close, a new phenomenon crept across the United States. As many adolescents no longer had to drop out of school and get a job to support their family, the era of the teenager began. Born of a potent combination of combination of leisure time, disposable cash, angst, boredom and rebellion, teens soon discovered true freedom came from owning or borrowing a set of wheels.

The car — perhaps the most potent symbol of American self-determination at the expense of the environment — became the vehicle to freedom of a sort: the ability to go cruising at night. From the late 1940s through well into the 1990s, cruising down the main streets, avenues, boulevards, and specially designated strips became the coolest thing a teen could do.

Growing up in the San Fernando Valley of Southern California during the 1950s and ‘60s, American photographer Rick McCloskey spent his youth cruising Van Nuys Boulevard every Wednesday night. His family home, just one city block from “The Boulevard” was located a few blocks from the famed Bob’s Big Boy Restaurant, home of the All-American meal: burgers and milkshakes.

Lyrical Photos of Trails Left Behind After the Kill

On the northeastern tip of Hokkaido, Japan, Shiretoko National Park lies in the balance. Taking its name from the native Ainu language, “the place where the earth protrudes” is one of the most remote places in the island nation. The temperate and subalpine mixed forests are home to brown bears and Kamuiwakka Falls, a hot springs waterfall known as “water of the gods.”

Designated as a 2005 UNESCO World Heritage Site, the park is also home to deer, whose population has been controversially culled by the government. Japanese photographer Takashi Homma began documenting the site of the kills in 2009, working over the next decade to compile a series of work just published in Trails (MACK).

Capturing Shadowman, New York’s Most Notorious Street Artist, in Never-Before-Seen Photos

Canadian artist Richard Hambleton (1952-2017) emerged from the Lower East Side art scene in New York as an urban legend at a time when the city was filled with characters that inspired some of Hollywood’s most iconoclastic films.

The young artist first left his mark on the streets of 15 cities across Canada and the United States between 1976 and 1979, creating Image Mass Murder Art — a series of police-style “chalk” outlines painted around volunteer “homicide victims.” In some cases he splashed red paint to add a hyperrealistic touch to the “crime scene.”

By 1979, Hambleton was firmly established in New York at a time when the Lower East Side was coming into vogue during the era of graffiti and street art. Alongside contemporaries such as Keith Haring and Jean-Michel Basquiat, Hambleton became notorious for his “Shadowman” paintings that loomed ominously on the streets, in the alleys, and at corners waiting to strike pedestrians at a time when street crime was a regular feature of daily life.

A Queer History of Modeling in Photos

Ruth Ford, c. 1930s. Portrait by George Platt Lynes

Lily Yuen with fellow performers, in Lily Yuen Collection, Schomburg, Folder 6: scrapbook 1926-1930. Manuscripts, Archives, and Rare Books Division, Schomburg Center for Research in Black Culture, The New York Public Library, Astor, Lenox and Tilden Foundations.

Fashion models, first described as “mannequins” arrived in New York via London in 1909. Their purpose, as their name denotes, was to sell merchandise to a burgeoning consumer class — while simultaneously advertising archetypes that simulated insatiable desire.

This desire was cultivated within something the product could never supply — a psychological state of want and aspiration designed to heighten insecurity and anxiety through the creation of a state of constant craving. Tapping into the psychological underpinnings that can only exist when survival is no longer the mainstay of one’s being, merchandisers understood the link between consumption and identity necessary to maintain the capitalist enterprise.

Glamour, romance, sex, and pleasure became the foundation upon which the mannequin was based — making the very spectacle of the human body and visage an object available for purchase. In the creation of the model, the individual was reduced to a thing that could be commodified and exploited for the express purpose of profits.

Celebrating the Second Annual Latin American Foto Festival in the Bronx

Fred Ramos. A Honduran child plays near train tracks in Arriaga, Chiapas, in southern Mexico, October 2018.

Johis Alarco?n. Nicole Carcelén, 19, plays with a cotton plant in her hair. The black slaves who first came to Ecuador were forced to work in cotton fields, cane fields and coal mines. For Nicole, cotton plants represent the strength of her ancestors and the strength of their blood. La Loma, 2018.

Yael Martinez. Alin Granda at her father’s home in Taxco Guerrero.Ignacio Granda went missing in Iguala Guerrero on May10, 2013 Alin was one year old.With more than 100 thousand deaths that the fight against organized crime has left, there is a generation of children growing in a context of violence. Guerrero Mexico on July 13, 2017.

With the second edition of the Bronx Documentary Center’s Latin American Foto Festival, curators Michael Kamber and Cynthia Rivera provide a space for photographers living and working in Latin America to tell their stories on their terms. The Festival, held in nine venues throughout the Melrose neighborhood of the Bronx, gave some 50,000 residents — many of whom are Latinx immigrants — the opportunity to engage with stories from their homelands through exhibitions, workshops, tours, and panel discussions.

The history of colonized lands is rarely told by those who have suffered the fate of centuries of imperialism that have systemically decimated the people and the lands of every continent outside Europe. Over the past 200 years, the people of Latin America have fought for independence and sovereignty, and against puppet regimes installed by the United States that first began in 1823 under the Monroe Doctrine.

As ICE raids systemically target Black and Latinx communities, the Foto Festival provides a pertinent moment to pause and reflect on the impact of white supremacy in its many forms, and the ways in which those it aims to exploit, oppress, and erase fight back in a struggle for life or death.

Picturing the Banality of Evil in the Ominous Workings of the State

Many Americans profess surprise at the inhumane social practices coming from the present White House. Perhaps they are comforted that they once had the luxury to have never been concerned about the forces of the military and prison industrial complexes weighted against foreign lands and U.S. citizens alike.

Perhaps the carnage of AIDS never touched their families. Perhaps they were never the victim of land grabs, medical experimentation, or any number of the genocidal acts waged by this nation that are documented in the annals of history and the on-going subject of current events.

“I guess the only time most people think about injustice is when it happens to them,” poet Charles Bukowski opined, summing up the new wave of “Not my country!” that greets those who have chosen denial over truth up until it finally affected them.

Looking at New York’s Downtown Scene in the New Millennium

Rify Royalty

The Illustrious Blacks

Larissa Velez-Jackson

“Downtown” is a state of mind that continues to exist long after Eighth Street was abandoned, its storefronts left empty and its streets laid to waste, long after the glory days documented by everyone from Tom Wolfe to Andy Warhol.

The lands south of 14th Street, once the centerpiece of bohemian life, have become a strip mall, charging exorbitant rates that can only be afforded by those who believe money trumps all. Residential spaces downtown have become the exclusive enclave of transplants raised on dreams of being Carrie Bradshaw without having to be an actual escort, a fact of life Candace Bushnell firmly understood when she penned the “Sex in the City” column for The New York Observer long before the Kushner family stripped the paper of its cache and cred.

Downtown as it physically stands in 2019 is a hollow echo of its former self. But the downtown mindset endures in a very telling way; now that Manhattan proper has become the provenance of the bridge and tunnel set, well, you can find the downtown attitude in the boroughs themselves. Here, in little pockets hints of Old York remain: Mom & Pop shops, luncheonettes with Formica counter tops and swivel stools, apartment buildings and private houses home to generations of families who came over after World War II and were forced into distant enclaves due to racist redlining policies.

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