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Posts tagged "people of color"


Confessions of an Application Reader: Lifting the Veil on the Holistic Process at the University of California, Berkeley - NYT

Underrepresented minorities still lag behind: about 92 percent of whites and Asians at Berkeley graduate within six years, compared with 81 percent of Hispanics and 71 percent of blacks. A study of the University of California system shows that 17 percent of underrepresented minority students who express interest in the sciences graduate with a science degree within five years, compared with 31 percent of white students.

When the invitation came to sign up for the next application cycle, I wavered. My job as an application reader — evaluating the potential success of so many hopeful students — had been one of the most serious endeavors of my academic career. But the opaque and secretive nature of the process had made me queasy. Wouldn’t better disclosure of how decisions are made help families better position their children? Does Proposition 209 serve merely to push race underground? Can the playing field of admissions ever be level?

This is fascinating.



(via seanpadilla)




—From Mrs.

This is terrific but can we give photo/art credit where it is due?

The last one is Jamila aka dream24seven, and she has an Etsy

(via )


Homecourt Hand: Meet the Chandlers

Kimberly Chandler — recent New York Fashion Week front-row ubiquitor, mother of three, Hurricane Sandy relief effort organizer and owner of one of the chirpier personalities in the borough of Manhattan — learned something about her social resilience earlier this month when she attended The Costume Institute gala at The Metropolitan Museum of Art by herself.

“I was so impressed with myself after it was over,” she says a few weeks later. “I feel like if you can walk that red carpet by yourself…I was like, ‘Oh, I’m good for anything else. I’m golden.’ I had a bit of a meltdown and then I pulled myself together.”

It’s a few weeks after she donned a Rodarte dress and strode that red carpet solo. Chandler is sitting in an oversize leather armchair in a faux living room at Canoe Studios on the west side of Manhattan on a humid, occasionally rainy May weekday. Today she wears a white collared Suno dress with black and blue geometric accents on its shoulder and skirt. Though her chair is several times too large, her posture is finishing-school straight. A few feet away, her husband, Tyson Chandler, the 7-foot, 1-inch starting center for the New York Knicks, has no trouble filling out his matching seat.  For More


British-Somali songwriter, feminist, and musician Marianne Joan Elliott-Said, also known by her stage name Poly Styrene, is most notably known for being the founder of punk rock band X-Ray Spex.

She was born in Bromley, London, and ran away from home at the age of 15 with just £3 in her pocket, hitchhiking from one music festival to another. This adventure ended when she stepped on a rusty nail while bathing in a stream and had to be treated for septicaemia.

After seeing the Sex Pistols performance at the Pier Pavillion Hastings on her 19th birthday she thought that anyone could do what they were doing and so decided to form her own Punk Rock band, putting an ad in the paper calling for ‘young punx who want to stick it together’, and that was the beginning of X-Ray Spex. She eventually became a passionate feminist and posted a blog dedicated to women’s rights and defense of women.

She was described by Billboard as the “archetype for the modern-day feminist punk”; because she wore dental braces, stood against the typical sex object female of 1970’s rock star, sported a gaudy Dayglo wardrobe, and was of mixed race. She was “one of the least conventional front-persons in rock history, male or female”.

Needless to say, she was a total bad ass.

idg why this post doesn’t have more notes


it’s poly fucking styrene omg

(via seanpadilla)

As a partner and chief diversity officer at Thompson & Knight, Pauline Higgins was not afraid to press the issue of hiring minorities at the 126-year-old Texas law firm. But when she left in 2008, she was replaced by an associate with less influence.

Now, current and former partners say, the diversity committee meets less often, and the firm has fewer black lawyers than before. It is a trajectory familiar in many elite realms of American professional life. Even as racial barriers continue to fall, progress for African-Americans over all has remained slow — and in some cases appears to be stalling.

“You don’t want to be a diversity officer who only buys tables at events and seats people,” Ms. Higgins said recently. “It’s about recruiting and inclusion and training and development, with substantive work assignments.”

Nearly a half-century after a Texan, President Lyndon B. Johnson, helped usher in the era of affirmative action, the Supreme Court is poised to rule as early as this week on whether the University of Texas can continue to consider race as one of many factors in its admissions policy. It is a case that could have a profound impact on race-based affirmative action programs across the nation, and it has reignited a discussion of how much progress [people of color], blacks in particular, have made in integrating into some of the most sought-after professions, especially since the recession.

Nelson D. Schwartz and Michael Cooper, “Racial Diversity Efforts Ebb For Elite Careers, Analysis Finds" NYT.com 5/27/13


Wayne Allyn Root - seriously, look his face in the last gif. 

No one’s laughing.

image We talk a lot about the creative team behind movies, TV shows, and webisodes. We got the opportunity to actually interview someone who’s a part of that team: film editor and director Sonia Gonzalez-Martinez. As mentioned on the R’s main blog, she’s edited the work of director Byron Hurt and actor/director Vin Diesel. And, as a director, she told the stories of stickball players in Bragging Rights: Stickball Stories. And she was gracious enough to chat with the R about racism in the industry, the representations of people of color in documentaries, and the fillmmaker’s responsibility.
In editing documentaries, what have you noticed about the representations of people of color in them? Is that something an editor has a hand in shaping?
The editor of color definitely brings their consciousness to editing decisions. I’ve never been asked tomake questionable decisions regarding people of color in any of my work, thank goodness, because every filmmaker I worked for was conscious and political. On “Passionate Politics: The Work and Life of Charlotte Bunch,” filmmaker Tami Gold, who is white and Jewish, was VERY conscious about the inclusion of women of color in her film about a white feminist. Her number one priority was to unpack the race issue of this white feminist who traveled to Africa and Latin America so that she wasn’t seen as a ”missionary” in the negative way because that is not who Charlotte Bunch is. As an editor, I do bring my lens of being a woman of color to every project I work on to make sure the shaping of the footage is as respectful to whatever subject matter we are dealing with.
You’re also a director. Why did you make that transition? And, again, how have –isms and –phobias impacted/still impact your work?
As a young person, I was an activist involved in anti-police brutality campaigns, in media literacy work, and in deconstructing images for the Latino community so that we, as a whole, can betterunderstand how imagery shapes perception. And filmmakers of color are sometimes guilty of stereotyping too. I was very entrenched in political work and because of that felt an obligation to make “political” media.
However, the genre that got me most excited was/is comedy. I finally gave myself permission a few years back to feed this muse and understand that this is my way of still being political, by taking life situations and viewing them with a comical lens. Activists wanna laugh too. As in my editing work, I haven’t experienced the isms - just my own fears and hesitation holding me back. Self-doubt is less of a struggle these days. With my partners Tammi Cubilette and Angelo Lozada, we make short comedies under the name T&A. This year, we’re developing longer content. I still edit docs because shaping documentary storytelling helps invaluably with narrative filmmaking. I recommend every editor to edit at least one of their own films; it becomes glaringly apparent what a director needs to make a film when that director has to struggle with putting the pieces together themselves in the edit room. The director, for example, is forced to think about transitions from scene to scene and even within a scene.
What stories about people of color would you like to see in a documentary? And, what stories about people of color do you think are overrepresented in documentaries?
I can’t really say that there are certain topics that are overrepresented because if they’re constantly being represented, then obviously that issue is not resolved, such as police brutality, rape, poverty and racism. How we tell these stories is where the true creativity comes in. As a Puerto Rican, I do get tired of docs on Puerto Rico that give the historical chronology of PR’s colonial relationship with the U.S.; it’s hard to get around because it’s such an integral part of Puerto Rico’s story and as often as it’s been told, for some reason, Puerto Ricans and the Puerto Rican relationship to the U.S. isstill misunderstood. I would like to see a doc on Puerto Rico across class and political ideology about life IN Puerto Rico. In narrative, I’m impressed by smart and funny comedies such as Black Dynamite, which takes a genre that could both be stereotypical and empowering, and through the intelligent wit of the “author,” the director be a incredibly sharp commentary about the genre, about race politics that’s very engaging, funny and thought-provoking.
Anything else?
It behooves all of us as filmmakers & craftspeople behind the scenes to know our cinematic history, as well as our people’s history. Know the pioneers such as Oscar Micheux, Gordon Parks, Lourdes Portillo, Christine Choy, among many others so that we know the struggles that they faced as filmmakers and the topics they tackled, which often are still the same issues we’re dealing with today. Also to state the obvious, know your craft, the history, the trends, what’s coming next. As an editor, I meticulously study narrative and docs, watching and studying every aspect of that particular film. I read interviews on the making of, I watch films closely to study the mise en scene, the edits, the structure. I even study the work of my peers, like T. Woody Richman, Carla Gutierrez and Geeta Ghandbir—not just to bask in pride for them but to appreciate and learn from their mastery, since we all came up together as young filmmakers. It’s exciting to watch us all make our imprint in this industry with as much love, dedication, and consciousness as we do.
Sonia Gonzalez-Martinez will talk about her work as a film editor and filmmaker at Maysles Cinema in Harlem, NY, on Tuesday, April 2, at 7:30PM. Check here for tickets and more information about the event.

Grace Lee Boggs, the 97-year-old feminist, activist, and philosopher, was born in the United Stated in 1915 to Chinese immigrant parents. Boggs earned her PhD in 1940; these credentials were no shield against discrimination based on her Chinese ancestry. When Boggs married African American activist James Boggs, over a decade before the Supreme Court of the United States invalidated laws prohibiting interracial marriage, she made the choice to add his name to her own. Their marriage would last until James Boggs’ death 40 years later.

In observing debates around the politics of naming, especially when it comes to gender, I often think of Boggs. Someone who knows little of her life and politics, or of intersectionality, might judge Boggs’ last name as an acceptance of a patriarchal naming tradition that privileges men. But is it?

The argument could also be made that by adding the last name of her black husband to her own Chinese name Boggs was putting into personal action the political solidarity between people of color traditionally pitted against one another by white supremacy. Perhaps her acceptance of the name was even a revolutionary act that flew in the face of the laws of a country that said race must determine whom you choose to love?

Or maybe, in 1953, a deeply political Chinese American woman marrying a black man simply had bigger fish to fry than worrying about her last name? Of course, these arguments are just as much speculation as the first. Still, I’d argue it is Boggs’ life-long record as a thought leader in the labor, civil rights, women’s rights, and environmental justice movements that actually defines her identity.

Boggs put into action hooks’ concept of ideas over identity long before the rest of us even started talking about it. That’s an example that could do us all some good.

—In all of the recent controversy about what women should and shouldn’t be doing with our last names, I think Dr. Sarah Jackson echoes my sentiment. Check out what she said on the R today!



Wan Ting Zhao and Daniel Deivison Oliveria in The Nutcracker, San Francisco Ballet, 2012.

I love this picture because I have never before seen a ballet related photo were the “couple” is interracial and none of them are white.