“Liniersgate” – Is This Cartoon Wrong?
The image that you see above was circulated often on social media last week after the United States Supreme Court legalized #same-sex_marriage in all of the 50 states of.....
Bonnie Lynn Raitt (born November 8, 1949) is an American blues singer-songwriter and slide guitar player. During the 1970s, Raitt released a series of roots-influenced albums which incorporated elements of blues, rock, folk and country. In 1989 after several years of critical acclaim but little commercial success she had a major return to form with the release of her album Nick of Time. The following two albums Luck of the Draw (1991) and Longing in Their Hearts (1994) were also multi-million sellers generating several hit singles, including “Something to Talk About”, “Love Sneakin’ Up On You”, and the ballad “I Can’t Make You Love Me” (with Bruce Hornsby on piano).
Raitt’s political involvement goes back to the early seventies. Her 1972 album “Give it up” had a dedication “to the people of North Vietnam ...” printed on the back.
Raitt’s web site urges fans to learn more about preserving the environment. She was a founding member of Musicians United for Safe Energy in 1979 and a catalyst for the larger anti-nuclear movement, becoming involved with groups like the Abalone Alliance and Alliance for Survival.
Despite her personal and professional problems, Raitt continued to tour and participate in political activism. In 1985, she sang and appeared in the video of “Sun City”, the anti-apartheid record written and produced by guitarist Steven Van Zandt . Along with her participation in Farm Aid and Amnesty International concerts, Raitt traveled to Moscow in 1987 to participate in the first joint Soviet/American Peace Concert, later shown on the Showtime television network. Also in 1987, Raitt organized a benefit in Los Angeles for Countdown ’87 to Stop Contra Aid. The benefit featured herself along with musicians Don Henley, Herbie Hancock, Holly Near and others.
Instapun***K.com Archives :
The Associated Press reports::
Winding up her summer tour across Europe, Bonnie Raitt drew thunderous applause at the  Stockholm Jazz Festival for dedicating a classic to President George Bush.
We’re gonna sing this for George Bush because he’s out of here, people!" Raitt crowed Tuesday night before she launched into the opening licks of “Your Good Thing (Is About to End),” a cover that was featured on her 1979 album, “The Glow”...
Raitt’s comments resulted in a round of applause and even whistles from among the estimated 3,000 concertgoers at the Swedish capital’s annual jazz event held on the banks of the downtown Skeppsholmen island.
Swedes are skeptical of Bush, and the Scandinavian country refused to support his efforts in the U.S.-led invasion of Iraq in 2003.
I used to come east from California to Camp Regis. It was run by Quakers, but most of the people there were Jewish and progressive. The counselors went to Colleges like Antioch and Brandeis and Swarthmore and were into the civil rights, peace movement thing. I went there every summer from ’58 until about ’65. It counteracted the whole beach boy scene in California which I couldn’t stand. I started wearing peace symbols around my neck and listening to an Odetta record what one of the counselors had brought up in ’59, and I learned to play guitar from that. Then I heard Joan Baez and fell in love. I wanted to pierce my ears and grow thin cheekbones. When I heard the Blues at Newport ’63 album, I wanted to get away from camp and go to the folk festival, but I was too young. I was thirteen.
When I heard “Candy Man” by Mississippi John Hurt on that album, I went, “What is that?” I’d been doing a lot of Odetta and Joan Baez stuff, but when I heard that I went – “I don’t know what that stuff is, but this guy is so cute, his voice is so cute, and his guitar is so pretty…” I just had to learn about it. I couldn’t figure out the tuning because I just wasn’t versed in guitar. I didn’t ever look at a guitar book, and I didn’t know anybody who played that stuff. I found out later that Taj Mahal and Ry Cooder were all in L.A. at the time and that there was a little burgeoning folk scene going on at Ash Grove, but I was living on top of Cold Water Canyon and was still only thirteen or fourteen.
By the time I was in the last two years of high school, I went to a Quaker school in Poughkeepsie, New Your, and that’s where I started to hear about the Club 47. I just couldn’t wait. I was playing guitar, and I was a real folkie. It wasn’t that I wanted to play music so much, it’s just that I wanted to be around it. So I chose Radcliffe because of Cambridge [Mass.] and the Club 47 and went there in the fall of ;67. I was a regular little freshman, wearing my tights, but I soon started listening to the Harvard radio station, WHRB, and found out that some of the guys like David Gessner and Jack Fertell were connected with the folk and blues circuit, …”
The above quotes are an excerpt from the book “Baby, Let me Follow You Down – The Illustrated Story of the Cambridge Folk Years” by Eric Von Schmidt and Jim Rooney.
The contras (some references use the capitalized form, “Contras”) is a label given to the various rebel groups that were active from 1979 through to the early 1990s in opposition to the Sandinista Junta of National Reconstruction government in Nicaragua.
Bonnie is as known for her lifelong commitment to social activism as she is for her music.
She also continues to work on issues of social justice and human rights, as well as royalty reform and music education.
Bonnie has worked with and supported many non-profit organizations over the past 40+ years. Thank you for learning more about what these groups are up to. This list will be updated often!
The reason why, looking back at USA’s Civil Rights era legislation we see leadership is that politicians, litigators and activists were bravely pushing for rights that the public wasn’t ready to extend. In comparison, today’s power brokers appear to be following public opinion, changing their mind because the wind is suddenly blowing a new way.
#Civil_Rights #gay_marriage #racism #USA #democracy #politics
A selection from LensCUlture
I Reminisce and Cry for Life by Agnieska Rayss
This project was inspired by Svetlana Alekseyevich’s book “War’s Unwomanly Face” (1985). All these women all different nationalities were fighting in #World_War_II for their homeland (the Soviet Union). The war was difficult for them. They were very young when the war had started (16-18) and they had to learn plenty of things that were necessary during the war. They were nurses, truck drivers, communications #workers, and they were #partisans (mostly those who lived in the country). Most of them went to the army as volunteers to defend their homeland. They had to fight and to share difficult living conditions with men soldiers.
They experienced hard times also when the war was over. They had to rebuilt their lives in a country ruined by the war. They often did not come back to their countries of birth, they stayed in Belarus where they happened to be when the war was finished.
They were not treated better than ordinary citizens. They were often treated as freaks or prostitutes because they were in the #army with men. Most of them wanted to marry someone and to have children – to behave as “normal women”.
Their stories deserve to be known. This is a work in progress.
Marginal Trades by Supranav Dash
Trades and professional practices have always been intertwined with the caste system in India. Each caste and its sub-sets would stereotype an individual and dictate their occupational practice.
Since the early 1800s, people were not allowed to deviate from their fixed #professions or they would be outlawed by society. At the time, social morals reflected ignorance and strong attachment to orthodox beliefs.
The tradition of professions and trades being passed down the line from father to son, continued for generations until recently when globalization and rapid socio-economic change resulted in the problem of enculturation and automation. At that point, many of the age-old practices faded out, while others are currently on their way to extinction. The modern Indian generation refuses to stick to their ancestral professions and trades; they have become more daring and try to switch to more lucrative business possibilities.
The abandonment of the traditional practices also result from insufficient incomes, a desire to escape the #caste #stereotypes, the constant neglect of the privileged classes of the society these people serve, and a government that is not open to social reforms.
Global trends are constantly changing. Therefore, in these frantic times, it’s very easy to forget our past, culture and traditions. I am not opposed to modernization, but at the same time, I want to slow things down and force one’s self to recognize and remember the beauty of these analog practices. As a photographer, I want to use my craft to pay respect to these tradesmen and bring them to light.
Rise and Fall of Apartheid expo
In the culmination of a tour that has included venues across the world, Rise and Fall of #Apartheid: Photography and the Bureaucracy of Everyday Life comes to South Africa. The exhibition offers an unprecedented and comprehensive historical overview of the pictorial response to Apartheid.
Apartheid transformed the modern political meaning of citizenship, inventing a wholly new society in fact and law. The result was a re-organization of civic, economic and political structures that penetrated even the most mundane aspects of social existence in #South_Africa. Institutions for housing, public amenities, transportation, education, tourism, religion and business were transformed for the sole purpose of denying and depriving #Africans, “coloreds” and Asians of their basic #civil_rights, a transformation that extended into the personal lives of every South African.
Based on more than six years of research, the exhibition examines the aesthetic power of the documentary form — from the photo essay to #reportage, social #documentary to #photojournalism and art — in recording, analyzing, articulating and confronting the legacy of Apartheid, including its impact on everyday life in South Africa today.
The exhibition argues that the rise of the Afrikaner National Party changed the pictorial perception of the country into a highly contested space based on the ideals of equality, democracy and civil rights. Photography was almost instantaneously alert to Apartheid, changing its own visual language from a purely anthropological tool into a social instrument. Because of this, no one else photographed South Africa’s liberation struggle better, more critically and incisively, with deep pictorial complexity and penetrating insight, than South African photographers. It is the goal of this exhibition to explore and pay tribute to their exceptional achievement.
Encompassing the entire East Wing of #Museum_Africa, Rise and Fall of Apartheid encompasses over 800 works by more than 70 photographers, artists and filmmakers. It features complex, vivid, evocative and dramatic visual productions that form part of modern South Africa’s historical record. The exhibition brings together a rich tapestry of materials that have rarely been shown together.