By Sonya Renee Taylor
Activist, Poet, Founder of The Body is Not An Apology
The internet is yet again abuzz with a viral video meant to bring tears of humanity to all of our eyes. The show is called ‘What Would You Do?” it is a bit of a moralizing Candid Camera. The producers stage various…
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Brighten Your Day With The Cutest Taekwondo Match Ever
It’s almost too adorable.
And then the action picks up as both toddlers exchange blows.
But even that can’t stop these two from smiling.
And then they get sidetracked and just start dancing.
Because taekwondo is so much fun!
AHHH! THEIR CUTENESS IS TOO MUCH!
Watch the video here:
There’s all sorts of theories on why Banksy’s NYC-based Better Out Than In work is getting stomped out so quickly. According to one “graffiti historian,” w
WHY IS EVERYONE FUCKING UP BANKSY’S NYC WORK? AMERICA’S TOP VANDALS EXPLAIN
By Bucky Turco | October 9, 2013 - 02:38PM
There’s all sorts of theories on why Banksy’s NYC-based Better Out Than In work is getting stomped out so quickly. According to one “graffiti historian,” writers don’t like Banksy’s art because he’s “pandering to the mainstream.” But that’s not it, graffiti has always attempted to poke its stick into the mainstream, even while its participants–for the most part–have lived outside of it. So what is it? Graffiti has never had one cohesive voice, so we decided to go right to the people who know the most about it and ask them why they think Banksy is such a target.
To me, it comes down to how much easier it is to tear down what someone else has done than it is to create something yourself. Most of the world is cynical and reactionary… They are jealous of those with the courage to DO something. Success engenders admiration AND contempt. Banksy is a victim of his own success. The democracy of the streets is a double-edged sword, but I pull for the resourceful underdog and I wouldn’t have it any other way and I doubt Banksy would either.
Anyway, there seems to be a distorted narrative in the street art / graff culture that equates a diss or two to “NYC has turned against you.” That’s like saying that JFK’s assassination meant that “America turned against JFK,” or any other absurd generalization.
There are idiots in every niche of culture and the streets have their share. I try to embrace the good and rise above the bullshit. Regardless of how unfortunate it is that his pieces aren’t lasting longer, Banksy wins because he’s doing, while most everyone else is just reacting or worse… talking, so I’ll shut up now.
I think writers in New York create their own rules on the streets.
They are not impressed with someone coming to town trying to create an overnight blitz fame campaign. To gain respect and last streetwise in New York, you need to put down a lot of work and work your way up no matter who you are or how famous you are elsewhere. Writers in New York work extremely hard to stand out and when someone new comes to town and gets a lot attention, writers react. I have a lot of respect for artists and writers in New York. It is not easy to make a mark and last on the streets.
Personally, I like Banksy’s street stuff. His work has a sense of humor and provokes thought. What is exciting is that he is not a public figure and that his only interaction with the public and graffiti is on the streets. Graffiti is a form of self-expression, but also a form of vandalism, so there should be no rules. If you are at a spot and feel like side busting or going over someone that should be part of the scene. Whatever happens to Banksy’s work in New York doesn’t really matter. People get to see it, if not on the wall then in pictures, people talk about it and react. What more can you ask for as an artist? You paint and the world reacts.
I suppose what Sacha Jenkins said is true. However, he and his line-up of artists mentioned in the article are also “pandering to the mainstream” at Redbull Studios.
Banksy probably gets gone over mostly because people are jealous of his fame and money.
He has either mastered the art of public relations, or contracted with an agency and is able to generate huge press and attention that a million tags or throw ups could never achieve.
Street bombers probably feel that it isn’t right for someone who does very little bombing to get so much attention.
Going over Banksy is an easy way for someone to bring a little attention to themselves.
Number 1: Graffiti writers hate. Why would you go over the dude? These graffiti writers get jealous cause he’s gets all the hype. He does a simple stencil with a simple image and a lot graffiti writers feel it’s fake or that it’s not graffiti.
I think it’s kind of wack that people are dissing his shit. They know that Banksy is getting all this hype, so if they cross him out, they get fame. They know people are going to talk about it on the Internet.
Who cares if he’s not considered a graffiti writer or not? He came to New York and he’s doing something dope. Here comes all the haters. I’m not sticking up for the guy; I’m just looking at it.
It’s part of the game. In our eyes his work is no more or less important than other works. It’s just what happens. That’s the beauty.
It is for quick and fast fame.
Bansky is famous, therefore if I rag his stuff, I am famous now too.
People are territorial by nature and NYC graffiti rules has a locals only policy, with some exceptions.
I don’t think it’s more complicated than that.
New York writers, for the most part, think that street artists suck and they give them little to no respect. This should come as no surprise as street artists generally do not give writers respect and will go over a tag or throw-up with a poster without thinking twice about it.
Another reason is that they are looking for quick and easy fame. How? Well, if they cross out Banksy they will be noticed by the masses who are jocking Banksy. It’s a quick and dirty way to get attention. Another reason is simple hate. Who wants some out-of-towner coming in and getting so much attention when there are plenty of artists and writers putting in work on the street that get little to no attention by the media or the masses?
Its fair game to cross this stuff out if they cross you out. Some will even get knocked out from time to time. The competition for space and attention in the streets can be fierce and may writers see street artists as sell-outs that should just stick to the galleries in the first place thus leaving the streets for the writers not the overnight sensations.
We New Yorkers are natural born haters! We pride ourselves on our homegrown products, especially due to the grueling nature of survival in NYC.
Anyway, most people of color don’t really recognize Banksy’s work from any other street art, so it usually jealous white kids crossing him out.
Thus, I couldn’t give a rat’s ass. “Street Art” was created by white people for white people, denying the rich socio-political and ethnically diverse original world of Subway Art it’s proper due acknowledgements!
Several reasons including jealousy, easy mainstream fame, issues with the public/press associating his work with “graffiti,” Team Robbo, etc…
There’s tons of street art in NYC and a lot of it co-exists with graffiti. A lot of graffiti artists dedicate their lives to an art form that doesn’t get nearly as much attention as just one Banksy piece. Some graffiti artists could care less but some just hate on that fact. Some just want an easy way to get fame amongst the mainstream and you can’t blame them because it works.
Banksy’s work is part of pop culture at this point, so it’s also going to create a lot of controversy when there’s mainstream people jumping into the picture and labeling everything he does “graffiti.”
Whether you like it or not, the name Banksy is undoubtedly the most popular name that is associated with graffiti and street art among the masses, even if what he does is not “graffiti.” Since a big part of graffiti has to do with achieving fame, you can see how that causes a bit of a conflict.
Overall, I enjoy the controversy and I feel that it is a positive thing for the culture over time. It makes the masses open up their eyes to something they once ignored.
Sure, a lot of the initial opinions of the public may be “toy” (for lack of a better word), but for those who want to take that extra step and research further, you have someone like Sacha Jenkins educating them. For the art world, the ripple effect of his work can be seen in the rising prices at street art/graffiti auctions.
On this Banksy topic…
After reading the previous stuff I am just uninterested and don’t give a shit to make any kind of meaningful comment.
I didn’t even know Banksy was in town. But then, I read about it in the New York Times, I saw it on the Village Voice. I saw it on PBS and on the Colbert Report.
The spotlight is on Banksy right now. Anything within proximity of his work will likely show up in print, on air, or on the Internet. I suspect there’s a legit handful who have a beef with him, but not many.
No disrespect to anyone, but it seems like they want to hitch their wagon to his star. OMAR is a good example of the attention you can get by going over Banksy.
The rift between graffiti and street art is nothing new. Around 1987 we started transitioning from popping trains to hitting the streets.
I remember when an artist named Rene used to paint his “I am the best artist” murals over one of my pieces. So I made it a point to cross his shit out and go find out where his studio is and even write on his door.
We graffiti writers have a code: You go over us, we’re gonna go over you.
I used to think other graffiti writers hated me because I used stencils, but they just hate me.
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Justin Timberlake and Jimmy Fallon, comedy skit best friends and the human couple equivalent of a pair of colorful striped socks, teamed up yet again to shed light on a disease that’s been plaguing phone-connected humans for years now: the ridiculous overuse of hashtags.
That pound sign—which was probably once the least pressed button on a phone’s dial pad—has now infiltrated every single social network, every form of text communication and will eventually, override the spoken English language. We need to stop this immediately.
Timberlake and Fallon hilariously recreated a normal human conversation… but with the ridiculousness of hashtags hastily appended to every statement. This is how we all sound like on Twitter. Or on Facebook. Or on Instagram. Or in life. #DIE #YOLO [Jimmy Fallon]
Learn what it’s like to attend college in Williamsburg.
With 2,100 graduate students, the College of William and Mary has actually long been a research university.
But the nation’s second-oldest institution of higher learning – after Harvard University – retains the name “College” as homage to its roots as the first school in the New World to get its royal charter, from the king and queen of England, in 1693.
It’s also descriptive of the college culture: With a low student-to-faculty ratio (12-to-1) more typical of private schools, the college prides itself on its close community and tradition.
On the first day of classes, freshmen are welcomed by the college president in the Sir Christopher Wren Building, which school officials say is the oldest U.S. college building still used for classes, dating back to the 1690s.
They are then led outside past “thousands of people applauding” and a campuswide picnic, says Aaron Barksdale, a recent graduate.
[Be sure to ask these six questions at freshmen orientation.]
The Wren building initially was the center of everything, with faculty living upstairs, students downstairs and classes and meals taken in the same building. Today, that closeness with faculty is “the sweet spot for us,” says Admissions Dean Henry Broaddus.
For one thing, it means that students can work closely with professors on projects.
"Seventy percent of undergrads do research," says Stephen Dachert, a neuroscience major with a biochemistry minor who has delved into computer modeling of the Huntington’s disease cell with his organic chemistry professor.
Each year, the college funds the top 7 percent of students to do research on campus or elsewhere. Maryam Kanna, a senior double majoring in economics and government, got $3,000 to examine the socioeconomic differences in the Middle Eastern community of metropolitan Detroit.
Known for its liberal arts curriculum, William and Mary boasts that it, like the University of Virginia, offers an Ivy League education minus the sticker shock, at least for Virginians. The most popular of 46 majors include business, biology and history. Students can also design their own major.
[Check out 11 hot college majors that lead to jobs.]
"I had a friend who majored in storytelling," notes Sofia Chabolla, a fourth-year student who is double majoring herself in art and art history and English. Meanwhile, 75 percent of students participate in community service projects and more than 40 percent study abroad.
"Everyone here wants to do well, but everyone wants everyone else to do well, too," says Dachert. He decided to attend after visiting the historic campus near Colonial Williamsburg and seeing how friendly people were and how students continued classroom conversations after leaving class.
Barksdale points out that students are known for being “quirky and unconventional” and, indeed, any attempt to pigeonhole the “typical William and Mary person” is sure to be met with some campus slang: No TWAMP.
Although some 500 “Tribe” athletes compete on 23 Division I teams, sports aren’t as big of a preoccupation here as they are at other Virginia publics. About 30 percent of students are “Greek,” and there are about 400 student organizations.
Popular social events include “Screen on the Green,” a periodic movie night in the Sunken Garden; Wren Ten, Wednesday night performances by the school’s 11 a cappella groups; and Fridays@5 concerts in September and April to end the workweek.
When my alarm chirped at 6 a.m., I rose. In a parallel universe, I sank.
The alarm on my iPhone sounds like crickets.
For a moment, I heard them in the dream I was having. Then I crossed some foggy border and was awake. But just barely.
It was 6 a.m., which was early but not crazy-early. Still. It had been a rough night. Our infant son had been up four times, which meant that I had been up four times. All I wanted to do was to silence the damn crickets and go back to sleep. But I had an important run on tap — the final 20-miler before my marathon taper — and I’d promised Warren that I would meet him and Megan at his place at 7:00 to run the Hill Loop.
It was a test that every runner knows well: The figurative fork in the road. One path is easy, and leads to instant gratification; the other is harder, and doesn’t.
After a moment that felt like an hour, I pulled the covers off and planted my feet on the floor.
In a parallel universe, though, I stayed put. I turned my alarm off and texted Warren. “Rough night. Can’t run. Sorry.” Then I slid my phone onto the nightstand, rolled over, and burrowed under the covers.
In the real world, I pulled on running shorts, brushed my teeth, went downstairs to make coffee.
Parallel Universe Mark told himself that it was OK. He’d run later.
Real World Mark drove to Warren’s house and greeted Warren and Megan. They shuffled out of town, talking and laughing and trying not to think about the half-dozen stupid climbs coming over the next 13 or so miles.
Parallel Universe Mark slept.
Real World Mark slogged up Shimerville Road, the first big hill. He felt tired.
Parallel Universe Mark rolled over, and stirred. He felt groggy.
Real World Mark looked at his Garmin, and thought, Shit. This cannot be right. How have we only gone 6.4 miles? I’ll never make it. I should have stayed in bed.
Parallel Universe Mark heard his three-year-old daughter calling from her room. He sighed and got up.
Real World Mark heard a tractor rumbling up a hill, headed their way. It grew louder, and louder, and then it appeared. A blonde woman wearing shorts drove it. We all smiled and waved. The tractor pulled three low wagons filled with bushel baskets of peaches and apples.
Parallel Universe Mark had his first cup of coffee, and wondered how Warren and Megan were doing on their run.
Real World Mark looked over and saw the steeple of a distant church. It was the highest thing around. They would be running past it in another couple of miles.
Parallel Universe Mark let the dog out.
Real World Mark drank from the hose behind the church. The water was cool and tasted like gravel somehow. (Don’t ask Real World Mark how he knows what gravel tastes like.)
Parallel Universe Mark looked at the clock, and wondered when he would get his run in. It really was an important one today.
Real World Mark was up and over the final big climb. From here on in, it was flat. He would grab a cold Gatorade at Warren’s place and tack on another few miles to make 20. He knew the Gatorade would act as an elixir, helping him finish strong.
Parallel Universe Mark ate some cereal.
Real World Mark felt raindrops on his arms and face.
Parallel Universe Mark wondered how it was that extra sleep could actually make a guy feel more tired.
Real World Mark turned a corner at 18.25 miles, glanced at his Garmin again, and thought, Shit! This cannot be right. How am I doing 7:19 pace right now? He would go on to finish with two quick miles. Warren’s dog would lick the sweat from his legs as he stretched. The 20-miler was in the books, and now he had the rest of the day before him.
Real World Mark felt happy, and strong.
Parallel Universe Mark felt irritable, and weak.
Real World Mark told himself, “Remember this feeling, the next time you’re lying in bed and your alarm chirps at 6 a.m.”
Parallel Universe Mark told himself the very same thing.
For those who have suffered, are suffering, or simply want to learn more.posted on September 19, 2013 at 2:13pm EDT