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Archive for the ‘Skin Art’

Star Body Is Creating Some of The Most Unique Skin and Sun Care Products On the Market – PRNewswire08.10.20

FORT LAUDERDALE, Fla., Aug. 7, 2020 /PRNewswire/ --Since 2019, Star Body has been rocking the world of skin and sun care with their one of a kind Espress-O-Yourself line of caffeine-infused products. Though caffeine is often used in high-end beauty products, applying coffee extract to their already potent suncare formula has been a winning combination for Star Body.

Company founder Babs Marich says that Star Body began as a dream, as far back as 2009, when Babs started researching the beneficial effects of coffee extract as a skincare ingredient. Bruce Marich later joined the company in 2019 as President of Star Body Espresso Yourself.

After nearly a decade of research and development, Star Body was born. Star Body's attention to detail has paid off, they have since been recognized as one of the most effective, natural, environmentally conscious sun care companies on the market, and a true Florida brand.

Providing products that are both reef-safe and scientifically proven to be effective is quite an achievement. Each year, the world loses more of its aquatic ecosystems and a diverse range of marine life to the irresponsible manufacturing of beach products, like sunscreens and lotions, containing ingredients that are toxic to coral reef systems.

As a Florida-based company, Star Body holds themselves to a high standard of natural manufacturing practices, that include considerations for the ecological impact of their products. Through this attention to detail, they are able to ensure that their products are not only beneficial to customers but safe and non-toxic to the environment.

Star Body's line of products includes their flagship formula, Espresso Body Bronzing & Beauty Oil. Star Body makes it clear that this product is not a self-tanning oil, nor a sunscreen. It is a unique, plant-based formula that helps reinvigorate skin at the cellular level with coffee extract, adding shimmer and a luxurious glow with real 24 karat gold mica. Star Body adds a Collectible Star Fish charm in every bottle that helps to distribute the24 karat gold mica. Every bottle of Espresso Body Bronzing & Beauty Oil shines like a work of art, with flecks of gold, coconut oil, rice bran, and vitamin E oil. The combination of these oils has been researched to provide safe and effective sun care, keeping skin healthy and hydrated for hours, even in the heat of summer.

Another product from Star Body's lineup that has been turning heads at every showcase is their Tattoo Renew U formula. Tattoo Renew U offers the best in skincare for tattoos utilizing the benefits of coffee oil to help tattoos look brand new again while keeping them safe in the sun. Star Body has taken their Tattoo Renew U to some of the largest tattoo conventions in the country, and the product has consistently been met with glowing customer reviews.

Now, Star Body is expanding their reach within the United States retail market, making their products available through a diverse selection of both online and brick-and-mortar retailers. Since they first launched their products in 2019, Star Body has experienced consistent growth as they continue to fill a unique niche in the sun and skincare market, previously unaddressed by other companies.

Star Body's products can currently be found for sale through their website, and they have been called a company to follow as they continue their growth throughout 2020.

Please direct inquiries to:Kean Salcido(954) 639-2267 [emailprotected]

SOURCE Star Body

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Foods that help skin look younger and healthier – Times of India08.10.20

We are what we eat! Our dietary choices reflect on our skin and impact our bodys energy levels. The food choices we make every day can either make us feel energetic and look good or can make us look older than our actual age. Eating well not only does wonders for the waistline, but also bolsters the immune system. Eating right can replenish your skin and improve the condition of your hair. Apart from that, it also helps in smoothening the skin, reducing wrinkles and strengthening nails. How the food impacts your skin? Our diet directly affects our day-to-day appearance and plays a significant role in skin ageing. The building blocks of healthy skin and hair should include necessary nutrients, minerals, fatty acids as well as antioxidants to protect ones body from damaging environmental stress.If you too have been dealing with premature ageing of skin or greying of hair or other skin care issues. Then, here are a few foods that you can add to your diet to keep your skin and hair healthy. Pomegranates The seeds of this wonder fruit are packed with antioxidants like vitamin C that prevent fine lines, wrinkles and dryness by neutralizing the free radicals that age our skin. The fruit also helps in making our skin look firm and radiant as it contains natural components that reduce inflammation caused by the UV damage.

WalnutsThey contain Omega-3 fatty acids that are found in natural oils. Omega 3 fatty acids help in keeping hair and skin nourished. Walnuts also have vitamin E which helps repair damaged follicles. Hence, walnuts are full of nutrients that help in reviving the lost sheen of hair.

CarrotsAdding carrots to daily diet can help in managing high cholesterol levels, improves eyesight and the presence of vitamin A and antioxidants helps in improving skin and hair condition.

WaterThis one is one of the most important elements in our daily diet. Water gives our body and skin the much needed boost of hydration. Drinking ample water helps in making the skin soft, smooth and supple. Consuming less water leads to dryness, clogged pores, wrinkles and blemishes. Dehydration can also lead to fatigue and make you look and feel older.

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Northern artists’ masks selected to be part of national exhibit – CBC.ca08.10.20

Most people these days wear masks as protection from COVID-19, but 45 masks will soon be exhibited as artwork and part of the "Breathe. Collection" at the Whyte Museum of the Canadian Rockies in Banff this October.

Inuvik, N.W.T.,resident Eliza Firth's "Delta Rose" mask is among the artwork selected out of hundreds of applicants.

"I was in awe because it went across Canada, and the artists that came forth were beautiful," said Firth. "To be in that category with them, it felt awesome."

The Breathe. Project started as a Facebook group by two Mtis women, Lisa Shepherd and Nathalie Bertin, in Ontario and British Columbia at the beginning of the COVID-19 pandemic.

The group called on Indigenous and non-Indigenous artists to use their bead work and crafting skills to create a face mask that's not necessarily intended to be wearable.

The group ended up getting submissions from all over the world with thousands of masks posted on the page.

After organizers were inundated with calls from galleries and potential buyers from North America, they put out an artist submission deadline for the end of June.

The 45 masks were then selected by a jury of qualified individuals that didn't include the organizers of the group.

Bertin said she has started to receive the masks from all over Canada, before sending them to the exhibit in Banff where they will be displayed until February.

"We've had great participation from across the country and it's just been amazing but I was really, really thrilled when the masks came in from the North," she said.

Christina King, originally from Tuktoyaktuk, N.W.T.,also had two of her masks chosen for the exhibition.

The Prince George, B.C., resident used seal skin, walrus tusks and other Inuvialuit design elementlike red, white and geometric designs.

King, who is Inuvilauit, wrote that the masks are entitled "Inuvialuit Fortitude." The design represents the "strength and resilience of Inuvialuit" since half of the Inuvialuit population was decimated due to the Spanish flu over 100 years ago. Inuvialuit today are born from their ancestors who survived.

Bertin said several museums and galleries are interested in the collection and it looks like it will run for about three years.

"The masks themselves are true artifacts that are depicting a certain point in time in human history, and this isn't just us. It's global," she said.

Although Firth had submitted her mask to the group, she needed a little push to apply for the exhibit.

She said her friend Tony Devlin of Black Fly Studios took the professional photos of her mask to post to the group and helped her with the application process.

Firth said her "Delta Rose" mask was inspired by all of the people in the past whowere isolated and in hospitals, and her love of Delta roses.

The roses and stems are embroidered and caribou tufting is in the centre of her roses.

She added red, yellow and black beads mixed together with porcupine quills to represent people from all over the world "since this pandemic hit everybody. Not just one culture."

"I am a Mtis person, so I used my infinity symbol on the mask to represent me. And that's how the mask came to be," said Firth.

"I just like to continue and show people what artists do, their capability of making beauty when we have a huge pandemic."

Firth said she hopes to meet the other women whose masks got selected one day, and possibly visit the exhibit when the pandemic has ended.

"For this mask to be selected, it was nice. It was a really good feeling where you are making people aware of sickness, and how you come out of sickness and make people feel good by your art."

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Monday Morning Thoughts: We Resemble This Politico Article the Clash of Suburbs, Housing and Race – The Peoples Vanguard of Davis08.10.20

A provocative Politico article that came out this week, entitled Trump Doesnt Understand Todays SuburbsAnd Neither Do You. But this isnt about Trumpits about us.

As the article notes, Suburbs are getting more diverse, but that doesnt mean theyre woke. Thomas Sugrue says if you want to understand where American politics is going, look how suburban whites are sorting themselves out.

While Thomas Sugrue, director of metro studies at NYU points out, Trump has misread the reality of todays suburbs, he argues most of the rest of us have, too.

What he argues is, Its not simply that suburban America is increasingly diverse, nor that a majority of Black Americans live in the suburbs, nor even that a majority of new immigrants settle in suburbs, not cities. Instead, its that Americas suburbs are ground zero for a major schism among white suburbanites one remaking the electoral map before our eyes, and revealing why that old suburban playbook just doesnt work anymore.

Were seeing a suburban political divide quite different from the one that played out after World War II, when well-to-do, middle-class and even some working-class whites living in suburbia found common ground by looking through their rearview mirrors with horror at the cities they were fleeing, says Sugrue.

Another time, we will talk about the national implications of this. But I want to discuss Davisbecause it remains a curious study. Fifteen years ago when I started getting active, Davis was an upper class white community. It was nominally liberal.

But the history of Davis has been contentious, in part because of the battle between different forcesuniversity versus town. Progressive in the form of environmentalism, but also slow growth and exclusive.

The Vanguard in July 2006 emerged because of this duality. This is a city that, two years after it shut down its Human Relations Commission (temporarily) due to advocacy for police oversight, turned around and by overwhelming numbers supported Barack Obama in his bid to become the first Black president in America.

Davis has progressed a lot in 15 years. We have seen the installation of that same civilian police oversight body in 2018 that caused the HRC to be shut down in 2006. We saw over 1000 people marching for Black Lives in June. We saw 2000 people sign a petition to put the school boards appointment on the ballot because they appointed another white person to the board.

On the other hand, Blacks in Davis are four times more likely to be stopped by police than whites, continuing the trend from 15 years earlier and the common complaint among Black people especially of being pulled over for DWB (Driving while Black or Brown). Meanwhile, as cities across the country have placed Black Lives Matter on their streets, Davis had to recently remove theirs when others wanted to put contrary messages.

But, as the Politico article notes, perhaps the big issues are on the land use front.

It turns out Davis is not alone in this regard.

White liberal suburbanites have played a critical role in the process of housing segregation and the resistance to low-income housing, says Sugrue. We cant just think about it as torch-bearing angry white supremacists. If they were the only obstacles to equality in suburban housing, we would have come a lot farther than we have.

Here Sugrue notes, In modern American history, race and class have been fundamentally intertwined. Its impossible to understand economic inequality and how it plays out without understanding its racial dimensions.

He continues: Race became, for many Americans, an easy marker for class, and class often became a way to obscure the racial dynamics at play in shaping housing markets. And along with that goes a rhetoric of colorblindness shared by many white Americans, regardless of their political orientation: I dont see people by the color of their skin, or I would have anybody be my neighbor red, white, black, yellow or purple. I cant tell you how many times Ive heard that as a way of professing supposed indifference to race.

But this point is critical: White liberal suburbanites have played a critical role in the process of housing segregation and the resistance to low-income housing.

This is the original critique of the Vanguardthe dark underbelly of Davis, if you will. We think of racism and white supremacists, but what we dont think about is obstacles to equality in suburban housing and the upper middle class white liberal communities. As Mayor Gloria Partida has pointed out, some of the most progressive communities are the most racially segregated.

Sugrue points out that one area of really important bipartisan convergence is the politics of homeownership the notion that property values need to be protected and, in particular, the politics of NIMBY, or not in my backyard.

He argues that there are liberals who profess to be progressive on matters of race who profess and support the idea of a racially diverse society, who say that they would like their children to go to racially mixed schools but when it comes to the questions of changing the landscape of their neighborhoods or changing the color of their neighbors or their kids school classmates, these folks start to sound a lot like conservatives, even if theyre ostensibly liberals.

This, he argues, manifests itself in significant opposition to the construction of multifamily housing.

He argues that its not even couched in the rhetoric of class.

Its not, I dont want multifamily housing in my neighborhood because I dont want lower-class people living here.

Instead, its, This is going to change the character of the neighborhood, or Its going to jeopardize my property values, or Its going to bring congestion.

Sound familiar?

David M. Greenwald reporting

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Monday Morning Thoughts: We Resemble This Politico Article the Clash of Suburbs, Housing and Race - The Peoples Vanguard of Davis

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The History of "Lift Every Voice and Sing" | At the Smithsonian – Smithsonian Magazine08.10.20

SMITHSONIANMAG.COM | Aug. 10, 2020, 9:42 a.m.

The air inside the Los Angeles Memorial Coliseum is electric with collective black joy. It is Sunday, August 20, 1972, the afternoon of the storied Wattstax concert, a seven-year community commemoration following the 1965 Watts neighborhood uprising against police brutality and systemic discrimination.

Attendees laugh, joke and jostle through the stadiums classically domed entryways, some with $1 tickets in hand, others admitted for free depending on what they can afford. By the time everyone is seated, more than 112,000 spectators, most of them African American Los Angeleansdancing teenagers, multi-generational families, gang members, blue-collar workers anticipating a day of fun before the start of a new work weekpeople the rows with a range of brown complexions. It is reportedly the largest gathering of African Americans since the 1963 March on Washington and even before the music performances begin, it is living art.

On the stage, erected in the center of the field just hours after a home game between the Los Angeles Rams and the Oakland Raiders the night before, Rev. Jesse Jackson ignites the crowd with his signature call-and-response recitation of I Am Somebody. By its final lines, thousands of fists are raised in the air in a solidarity salute to black power. Jackson capitalizes on the euphoria of the moment to take the people even higher: Sister Kim Weston, he announces, The Black National Anthem.

Weston clutches the microphone, her cappuccino-colored skin glazed by the midday sunlight. If anyone in the house has never heard Lift Every Voice and Singaffectionately referred to as the Black National Anthemhers is the perfect introduction to it.

The notes purr from her throat, vibrating with pride and sincerity, and she holds them unrushed to compel her audience to soak in the hymns distinguished place of honor in the black musical canon, the African American story set to song.

Lift every voice and singTill earth and heaven ring,Ring with the harmonies of Liberty;Let our rejoicing riseHigh as the listening skies,Let it resound loud as the rolling sea.

In an inherent Africanism, Weston extends an invitation for the community to join her as she soars to the chorus. Wont you sing it with me everybody? she asks. Having memorized the entire hymn from its repeated incorporation into church services or school assemblies or performances led by youth choir directors, the crowd responds as an ensemble of tens of thousands of voices, stumbling and mumbling over some parts, their fists still raised emphatically in the sky.

Sing a song full of the faith that the dark past has taught us,Sing a song full of the hope that the present has brought us,Facing the rising sun of our new day begunLet us march on till victory is won.

Lift Every Voice and Sing sets an atmosphere of reverence and gratitudefor the American journey of black people, for the selfless sacrifices of the ancestors, for an inheritance of indomitability and resilienceand on the Wattstax stage, the hymn elevates the celebration of black pride.

Its one of the highlights of my life, says Weston, reached recently at her home in Detroit. Reflecting on the songs powerful resonance, she says: Ive been singing Lift Every Voice and Sing since I was five years old. I learned it in kindergartenwe sang it every day. So that performance was a beautiful moment of solidarity.

This year, the NFL announced that Lift Every Voice and Sing will be played or performed in the first week of the season, an acknowledgement of the explosive social unrest and racial injustices that have recently reawakened the American conscience. Just two years ago, team owners banned Colin Kaepernick and other players from silently protesting the same crimes against black humanity by taking a knee during the Star-Spangled Banner. Weston believes the gesture indicates progress.

You know what? I sang Lift Every Voice and Sing at the first inauguration of President G. W. Bush, Weston says. I think that that's the same thing he was doing, showing the black community that there is some concern. What do they call that, an olive branch?

In 1900, James Weldon Johnson composed the poem that would become the hymn that, in the 1920s, would be adopted by the NAACP as the official Negro National Anthem. A prototypical renaissance man, Johnson was among the first black attorneys to be admitted to the Florida bar, at the same time he was serving as principal of the segregated Stanton School in Jacksonville, Florida, his alma mater and the institution where his mother became the citys first black public-school teacher.

Tasked with saying a few words to kick off a celebration of Abraham Lincolns birthday, Johnson opted to display another one of his many gifts by writing a poem instead of a standard, more easily forgettable speech. He wrestled with perfecting the verses, and his equally talented brother J. Rosamond Johnson, a classically trained composer, suggested setting them to music. A chorus of 500 students sang their new hymn at the event.

When the two brothers relocated to New York to write Broadway tunesyet another professional pivot in Johnsons illustrious careerLift Every Voice and Sing continued to catch on and resonate in black communities nationwide, particularly following an endorsement by the influential Booker T. Washington. Millions more have sung it since.

The school children of Jacksonville kept singing it, they went off to other schools and sang it, they became teachers and taught it to other children. Within twenty years, it was being sung over the South and in some other parts of the country, Johnson wrote in 1935. Today the song, popularly known as the Negro National Hymn, is quite generally used. The lines of this song repay me in elation, almost of exquisite anguish, whenever I hear them sung by Negro children."

Sometime in the 1920s, Johnson sat for German artist Winold Reiss, who famously memorialized W.E.B. DuBois, Zora Neale Hurston and other luminaries from the Harlem Renaissance. The drawing is held in the collections of the Smithsonians National Portrait Gallery as a tribute to Johnsons diversely distinguished life and career. After writing the Black National Anthem, he was appointed United States consul first to Venezuela, then Nicaragua by the Roosevelt administration. He went on to serve as field secretary for the NAACP, opening branches and enlisting members, until he was promoted to chief operating officer, a position that allowed him to outline and implement foundational strategies that incrementally combatted racism, lynching and segregation and contributed to the eventual death of Jim Crow laws.

The prestige of Lift Every Voice and Sing has become part of its legacy, not just for its distinguished lyrics but for the way it makes people feel. It inspired legendary artist Augusta Savage to create her 16-foot sculpture Lift Every Voice and Sing (The Harp) for the 1939 New York Worlds Fair. Black servicemen on the frontlines of World War II sang it together, as have civil rights demonstrators in every decade, most recently on the steps of the Lincoln Memorial following the murder of George Floyd. President Obama joined the chorus of celebrity guests performing it at a White House civil rights concert. Beyonc included it in her stunning Coachella performance in 2018, introducing it to a global audience who may not have known it before. Its been recorded by Weston, Ray Charles, Aretha Franklin, Stevie Wonder, and across all genresjazz, classical, gospel, opera and R&B.

Though Johnsons lyricism references key symbols from black history and culturethe bright star alludes to the North Star that guided men and women fleeing from enslavement to freedom, for examplehe never draws an explicit connection to race. That means the anthem isnt proprietary or exclusive to black people, says Tim Askew, professor of English and humanities at Clark Atlanta University and author of Cultural Hegemony and African American Patriotism: An Analysis of the Song Lift Every Voice and Sing.

A Black National Anthem is amazing. It is. But the song is an anthem of universal uplift. It's a song that speaks to every group that struggles. When you think of the words lift every voice, of course as a black person, I see the struggles of black people. But I also see the struggles of Native Americans. I see the struggles of Chinese Americans. I see the struggles of women. I see the struggles of gays and lesbians. I see the struggles of Jews. I see the struggles of the human condition. And I have to talk about that, says Askew, who has had an academic love affair with the hymn for nearly 40 years.

Lift Every Voice and Sing has been sung by Mormons, Southern white folks and congregations around the world, appearing in more than 30 church hymnals. Rabbi Stephen Wise of the Free Synagogue in New York wrote to the Johnson brothers in 1928, calling the hymn the noblest anthem I have ever heard. That, says Askew, is a testament to the songs universal magnetism beyond the defining lines of race and religion.

The greatest compliment to James Weldon Johnson and his brother, these two black men, and to black people in general, is that something that comes from our experience became global. People around the world are hearing it and relating to it and responding to it, says Askew.

Scholars, particularly Wendell Whalum at Morehouse College, have dissected the emotional progression through the three stanzas of Lift Every Voice and Sing, from praise (see words like rejoicing, faith and victory) to lament (see chastening rod, blood of the slaughtered, gloomy past) to prayer (see keep us forever in the path, we pray).

Equal parts honoring the painful past and articulating optimism for the future, the hymn may be Johnsons most well-known contribution because its lyrics remain relevant to where we are as a country in any era, says Dwandalyn Reece, curator of music and performing arts at the Smithsonian's National Museum of African American History and Culture. Johnson speaks to a larger trajectory that really shapes us all. The struggle we're seeing today is not just between black and white, it's for all people. We need everyone to stand up and speak out and get engaged in really changing society.

As essential as Johnsons genius poeticism, she adds, is brother Rosamonds genius composition. We always talk about the lyrics but I think the music is just as importantthe majestic sound, the steadfastness, the sturdy beat. You get to these highs where you just want to sing at your loudest and assert who you are. Theres a tremendous amount of power when the lyrics and music are married together, says Reece. For me, its always kind of uplifting, particularly in a moment of despair or a moment of remembering why you're here, what got you here and the possibility that you want to imagine for yourself.

That aspiration and hopefulness was in the faces of the thousands of people saluting their peopleand themselvesat Wattstax as Kim Weston delivered what may have been the most notable performance of Lift Every Voice and Sing until that time and arguably of all time, certainly the first to resuscitate its widespread popularity. Jesse Jackson was so passionate about reinvigorating interest in the Black National Anthem, he reportedly elevated Westons arrangement as the gold standard and encouraged local radio stations to play it.

Should a song that threads the black experience be communal domain? Is it separatist in a country that has never been invested in unity? A champion for the history and culture of African Americans, Johnson himself identified Lift Every Voice and Sing as the Negro National Hymn, honored that it resonated so deeply among the people he committed his life to loving and lifting. But its possible he recognized its ability to rally and unify others too.

Johnson was the epitome of class and excellence, a global person, but as a well-informed citizen even back in his day, he knew that this song was larger than us. He knew it had international appeal because people around the globe were asking him if they could sing the song, says Askew, himself passionate about the hymns mass appeal. I mean, this song went everywhere because he went everywhere. It doesn't diminish black folks because we deserve to sing a song that speaks to our experiences, but it just joins other people in a human struggle. We have to think of ourselves in a global sense.

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Toyin Ojih Odutolas Visions of Power – The New Yorker08.10.20

A woman stands in an otherworldly landscape, looking out. The landscape is sublime, though not the European sublime of cliffs, peaks, and mist. Here the sublime is African. It has many texturesconglomerations of stone, waterfalls, verdant grasslandsand may remind Nigerians of their own Jos Plateau. The woman stands with her left leg raised, surveying it all, with no sense of urgency; indeed, she appears to be in a state of philosophical contemplation. She seems assured both of her mastery over this land and of her natural right to it. This sovereignty is expressed primarily by her bodythe fabrics she wears, the pose she strikes, all of which find their reflection in the land around her. The same dark lines tracing her impressive musculature render the rippling rocks; the ridges of her bald head match the ridges in the stone; the luxurious folds of the fabric are answered by the intricate layering of the earth beneath her feet. Toyin Ojih Odutolas The Ruling Class (Eshu) appears, at first glance, to be a portrait of dominion. For to rule is to believe the land is made in your image, and, moreover, that everyone within it submits to you. Structurally, it recalls Caspar David Friedrichs depiction of Enlightenment dominion, Wanderer Above the Sea of Fog: the same raised left leg, the same contemplation of power in tranquillity, the echoes of hair, pose, and fabric in the textured landscape. But the red-headed man with the cane and his back to us has been replaced by a black woman with a staff, facing forward. The script has been flipped.

The show containing this image is called A Countervailing Theory. Countervail: to offset the effect of something by countering it with something of equal force. The word could not be more apposite. We are in a cultural moment of radical countervailing, perhaps as potent as that experienced in the sixties, when what was offered as counter to the power of the gun, for example, was a daisy placed in its barrel. A period of hierarchical reversal, or replacement, of this for that. And The Ruling Class might seem wholly part of this countervailing movement, oppositional and constructed of opposites: black replacing white, by way of a restricted black-and-white palette of charcoal, chalk, and pastel. A picture that offers a new image of power as counter to an old one.

But thats not the whole story. And Ojih Odutolawho was born in 1985, in Ife, Nigeriais an unusually story-driven visual artist. Her 2017 breakout show, at the Whitney Museum, To Wander Determined, with its depiction of two imagined Nigerian dynasties united in marriage, involved world-building equal to that of any novel, and in A Countervailing Theory the story, as the title implies, is not merely a flipped script but also a theory concerning countervailing itself. The forty pictures in the show are hung on a curving wall at the Barbican, in London, and unfold sequentially, like a Chinese scroll. Together, they lead us deep into the wilderness of our present ideas about powerwho should have it, how it should be wieldedand then out again, a journey as much philosophical as visual. What are the possibilities and the limits of countervailing, as a political or an aesthetic project? Is it sufficient merely to counter? Or might a higher synthesis be conceivable?

The project started, according to Ojih Odutola, with a wandering charcoal line, which she followed, rather blindly, letting my mark making guide me... to see what aesthetic characteristics and proclivities recur and how to incorporate these as motifs in the work. (Though Ojih Odutolas images are often mistaken for painting, she has so far worked exclusively in pen, pencil, charcoal, and pastel.) Following this line, she arrived at an unexpected destination, framed as a question. What would it look like if women were the only imperialists in known histories across the globe? Which led to another: If the powerful women she was drawing were the masters, over whom did they have mastery? The story developed:

My initial aim was to tell a tale of two beings, one born, another made/manufactured, who exist within a system that enterprises and stratifies war, imperialism and hierarchiesand how these two mitigate their respective lives within it to, ultimately, cross over and come together to bring the whole system down. But they fail.

The two beings are Akanke, who is a member of the Eshuthe ruling class of womenand Aldo, one of the Koba, male humanoids manufactured to work for the Eshu, mining and cultivating food. The Koba far outnumber the Eshujust as slave populations usually dwarf their overseersbut, like slaves, their lives are not their own and they live in fear that their masters will decommission them at any time, for any reason. The first eight pictures give us an idea of what it is to be Aldo. Like all Koba, seams run through his body, etched into the skin, through a process implemented, as another image, This Is How You Were Made; Final Stages, suggests, by the Eshu. And, as is true for all beings, Aldos own existence seems to be a puzzlement to him, although perhaps, as an oppressed being, he puzzles over it more intensely than the ruling class, who, in their tranquillity, tend to think only of their own power. In Introductions: Early Embodiment (Koba), this existential anxiety is expressed through the depiction of hard-to-parse liminal spaces, for Koba seem to come into being in a zone somewhere between the bardo, the depths of a mine, and a penal colonyamid circles, lines, waves, and shadows, where it is difficult to say what is floor or ceiling, ground or sky. In this strange, transitional place, Koba avert their eyes; they seem fearful; each grips his own naked body, which appears to be his only possession.

The contrast with what we glimpse, in Unsupervised Education, of Eshu childhood is striking. Young girls, future rulers, roam their environment freely, evidently curious, touching and examining the land, even breaking off pieces of it, at ease within their surroundings and never doubting that ease. When Ojih Odutola was asked about some of her sources of inspiration for Eshu society, she offered a line of Camille PagliasSociety is a system of inherited forms reducing our humiliating passivity to natureand also the geometric costumery of the Dutch designer Iris van Herpen. It is easy to see, in the imperious Eshu, the ways in which this feared vulnerability is systemically disguised and obscured, by staffs and helmets, by bodies trained to show no sign of weakness or potential decay, and by clothing that, like van Herpens, mimics the patterns of nature and aspires to natures authority of form.

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Global Adhesive Tapes Market Projected to be Worth $85.9 Billion by 2026 – GlobeNewswire08.10.20

Dublin, Aug. 10, 2020 (GLOBE NEWSWIRE) -- The "Global Adhesive Tapes Market, Resin Type, By Region; Trend Analysis, Competitive Market Share & Forecast, 2016-2026" report has been added to's offering.

The in-depth analysis of the report provides the growth potential, upcoming trends, and statistics of the Global Adhesive Tapes Market size & forecast. The report promises to provide state-of-the-art technology of Global Adhesive Tapes Market and industry insights, which help decision-makers to make sound strategic decisions. Furthermore, the report also analyzes the market drivers, challenges, and competitive analysis of the market.

Global Adhesive Tapes Market estimated to reach USD 85.9 billion by 2026

The surge in disposable income, alterations in lifestyles of the people and increased dependency on electronic devices' usage are expanding the sales of electronic devices in Asian countries. The tendency toward miniaturization of electronic devices, especially cell phones, portable personal computers, and tablets, is a central element driving the adhesive tapes market internationally.

Adhesive tapes are widely deployed in various automotive applications such as wire harnessing, electric insulation, and automotive body repairs, masking, and surface protection. The surge in usage of adhesive tapes in automotive interior parts to deliver improved confrontation and excellent bond-ability is likely to push the adhesive tapes market during the prediction period. Demand for adhesive tapes has been surging in the packaging-end-use industry due to its wide range of applications in unitizing, palletizing, carton sealing, bundling, and general packaging.

Double-coated tapes are expected to substitute old-style sealing and adhesion techniques, due to their rise in ingesting due to their stability, excellent surface adhesion, and high shear strength. Strong production base, the rapid growth of the automotive sector, and replacement of bolts, traditional fasteners, screws, and rivets with adhesive tapes are projected to push the adhesive tapes market through the globe.

Single-coated adhesive tapes captured the global adhesive tapes market in 2018. Single-coated tapes contain adhesive applied to one side of a support. The adhesive could be composed of silicone, natural rubber, or acrylic, while the backing material could be paper, foil, nonwoven, polymeric film, or high thread count weaved cloth. These tapes, which comprise masking, medical tapes, carton sealing, electrical, and BOPP adhesives, facilitate the closeness of a material with a surface and the joining of two adjacent or overlying materials.

Growth Drivers

Rising usage of adhesive tapes in diverse applications

The widespread practice of adhesive tape usage in various industries such as automotive and food and beverage is an essential factor propelling the market. Automotive manufacturers are progressively accepting adhesive tapes in place of mechanical fasteners such as bolts and screws to decrease the vehicles' weight and provide better fuel efficiency. The growth of the healthcare sector is another factor in promoting the market growth. The sector uses adhesive tapes majorly for wound care, assembly of medical devices, attributing electrodes on the skin, and fixing cover shields during surgeries.

Besides, skin-friendly adhesive tapes are extensively applied in the manufacturing of infant and adult diapers. Moreover, the rising demand for eco-friendly water-based adhesive products joined with the introduction of recyclable tapes made from biodegradable polymers has increased the market development. Furthermore, the rising trend of online shopping is feeding the demand for retail packaging and distribution materials, which has resulted in an increased obligation of adhesive tapes across the sphere.

Increasing demand for adhesive tapes in Asia-Pacific

The Asia Pacific region is anticipated to fetch a promising rate in the coming years owing to the growth in technology. Furthermore, raw materials are readily available in the Asia Pacific, and the manufacturing infrastructure is advancing as per the needs of the units. Middle East & Africa is also a prominent market for adhesive tapes due to the substantial rise in commercial & substructure activities and current low market saturation in the region.

Competitive Landscape

APAC is a significant primary adhesive tapes market and is predicted to be the fastest-growing market during the forecast period. The region is seeing healthy development due to ongoing R&D progressions and other related activities in healthcare, electrical & electronics, and automotive industries.

The adhesive tapes market in developing economies, such as South Africa, China, India, Brazil, and Indonesia, is expected to witness significant development. In contrast, more advanced markets such as the US, Germany, Japan, and the UK, will see slow or no growth during the prediction period. China is probably the major contributor, mostly led by the high demand from heavy industries and consumer product manufacturing segments.

Socio-economic growth donates to the development of the global adhesive tapes market in the country. Besides, the low cost of raw materials and easy accessibility of inexpensive labor for their manufacturing have induced the augmented production of low-priced tapes in APAC, which has funded to the development of the adhesive tapes market in this region.

Some of the leading players operating in the Global Adhesive Tapes Market are 3M Company (US), Tesa SE (Germany), Nitto Denko Corporation (Japan), Lintec Corporation (Japan), Intertape Polymer Group (Canada), Avery Dennison Corporation (US), Lohmann GmbH (Germany), Berry Global Inc. (US), Scapa Group PLC (Canada), and Rogers Corporation (US), 3M Company (US) and other prominent players.

Key Topics Covered

1. Research Framework

2. Research Methodology

3. Executive Summary

4. Global Adhesive Tapes Industry Insights4.1. Industry Value Chain Analysis4.2. DROC Analysis4.2.1. Growth Drivers4.2.2. Restraint4.2.3. Opportunities4.2.4. Challenges4.3. Technological Landscape/Recent Development4.4. Regulatory Framework4.5. Company Market Share Analysis, 20194.6. Porter's Five Forces Analysis4.7. Impact of COVID-19

5. Global Adhesive Tapes market Overview5.1. Market Size & Forecast by Value, 2016-20265.1.1. By Value (USD Million)5.2. Market Share & Forecast5.2.1. By Resin Type 5.2.2. By Backing material5.2.3. By Technology5.2.4. By Category5.2.5. By Industry5.2.6. By Region

6. North America Adhesive Tapes Market

7. Europe Adhesive Tapes market

8. Asia-Pacific Adhesive Tapes Market

9. Latin America Adhesive Tapes Market

10. Middle East & Africa Adhesive Tapes Market

11. Company Profiles(Company Overview, Financial Matrix, Key Product Landscape, Key Personnel, Key Competitors, Contact Address, and Strategic Outlook)11.1. 3M Company 11.2. Tesa SE 11.3. Nitto Denko Corporation11.4. Lintec Corporation 11.5. Intertape Polymer Group 11.6. Avery Dennison Corporation11.7. Lohmann GmbH 11.8. Berry Global Inc.11.9. Scapa Group PLC 11.10. Rogers Corporation 11.11. Other Prominent Players

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Global Adhesive Tapes Market Projected to be Worth $85.9 Billion by 2026 - GlobeNewswire

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Black Creatives In Fashion Speak Out On Inequality: We Need To Talk, And You Need To Listen – Forbes08.10.20

An image from "The Stories of Us," Blanc magazine, summer 2019, taken at the annual family barbecue ... [+] of editor in chief Teneshia Carr. Models and family members, including, Carr's mother, right, wear Gucci.

For an industry that claims to be in the thrall of beauty, the jarring inequalities of the $2.5 trillion fashion ecosystem arent very pretty.

The path to success for Black creatives is beset with obstacles, disadvantages, setbacks, disappointment and compromise as a result of the well-documented systemic racism and unconscious bias in fashion industry institutions and businesses.

Black designers and fashion editors jockey for equal footing with their peers, but often lack the networks and connections that could help open doors to jobs. When theyre ready to step out on their own, funding, showroom representation and wholesale distribution can be a trial.

With fewer industry role models in positions of power and influence and, historically, less representation in fashion magazines, envisioning a future in the industry has required imagination, a single-minded focus and resolute confidence.

The Black designers, makers and editors in this story, who are operating businesses with creativity, resourcefulness and grit, discussed their experiences.

Teneshia Carr was 15 years old when she picked up a copy of Vogue she doesnt remember where and started leafing through it. Carr recalled that her developing aesthetic sensibility was attracted to the fashion stories, but she simultaneously felt put off by them.

I realized it was giving me a horrible complex, but I read it with such fascination, said Carr, editor in chief of Blanc, an independent magazine with fresh perspectives on fashion art and music. The way Grace Coddington, [former creative director at large of Vogue] created editorials and those fabulous worlds.... I wanted to create a space where I could see myself. I could never see myself and people like me, my mother and my sister at places like Vogue or in advertising.

Carr shrugged off concerns about Black representation in Vogue, and set her sights on its parent company when she finished college.

Despite all of that, I applied to Conde Nast 200 times, said Carr, who channeled her disappointment and anger into Blanc. I created Blanc to be my Trojan horse. It was my way to be seen in a white world. It was a way for me to sell this idea, combined with my idea of inclusivity, back to the same people who wouldnever see me.

Carr opened Blancs door wide to talents of different races and models of a variety of ages, sizes and shapes.

I donttry to tick off boxes. When its Pride month, I dont say, Lets do something about Pride. I want to show the world how it actually is, she said. Its all of us living the same lives, but with slightly different experiences, together. I think the world is primed to accept this as the new normal.

Making a token black issue is in itself racist, Carr said. We didnt use Black people all year, but were going to put them all in one issue so they shut up about it. You have Beyonce on your cover, but you dont get a gold star for having a black photographer shoot your cover when its your first black cover photographer.

Now in its second year, a partnership with Gucci entails the Italian brand running ads in Blanc and making available collections for editorial use in stories. Gucci is so supportive, Carr said. For one of my shoots, they gave me more looks than theyd given anyone. I took the clothing to South Philadelphia and shot it on my family.

Carr confronted Gucci about its now infamous winter 2018 collection featuring a black turtleneck sweater-hat that resembled blackface. I told them, You dont know me, but you hurt me. Its just another way to show me that Im not the norm and theres something wrong with me. Im sure its hard to eat shit and take that from a person you dont know from a little baby magazine. They said, What can we do to help you get your messaging out there?

So many organizations have been taking money off Black bodies and Black culture, Carr said. The movement thats happening now is powerful because we can have these conversations in the open. Why Black designers are struggling now is something we can talk about and tackle in the moment when the entire world is listening.

Zaime New York is Zapora Williams' new responsibly-sourced and ethically-produced collection

I dont want to make it all about race, said Zapora Williams, who launched Zaime New York in March, after 15 years of working at fashion firms. Theres thousands of brands, but it does feel like it must more difficult for Black brands to get a seat at the table. Thats why a lot of Black-owned brands are doing direct-to-consumer.

Williams decided to take the direct-to-consumer route herself with Zaime. Im filling orders as I get them and shipping them out, she said. When I created the brand I wanted some wholesale partnerships with retailers I always admired. I just feel completely invisible.

Ive pitched all of the major retailers, Williams said, adding that Zaime is responsibly sourced and manufactured on demand with a turnaround of about 10 days. A dear friend in the industry, who said she felt very moved by whats happening with the Black Lives movement andracial inequality, sent a letter on my behalf to 70buyers. We only got three responses, and one asked to be taken off my email list.

When Williams attended an L.A. trade show before the COVID-19 pandemic, Zaime, the only black-owned brand among 200 labels, was relegated to the basement. I didnt get a lot of foot traffic. They thought my friend and I were sales reps.

We often get lumped into streetwear, Williams said. Black doesnt automatically mean streetwear. I wanted to showcase Black women in a new light.

At her last job, colleagues talked about exclusively using white models until the whole diversity thing kicked in around 2017 and made Black models trendy. I asked why other ethnicities werent used, and they said because they couldnt find anybody attractive enough.

Two looks from Zaime.

Williams said its hard to scale the business with Black female-ownedcompanies being underfunded. TheFearless Fund said Black female entrepreneurs are the fastest-growing group, but got under 1% of venture capital funding, she said.

The Council of Fashion Designers of America, the closest thing the industry has to a governing bodyalthough it has no control of its member designershas been under pressure to provide solutions to rid fashion of racism, as various factions splinter off. Recent initiatives announced by the CFDA include building an in-house employment program to place Black talent in fashion jobs, and mentorship and internship programs to find opportunities in fashion for Black students and recent graduates. A diversity and inclusion training program in the fall will launch for CFDA members. As we create more opportunities for Black designers in fashion, were confident that fashion will transform and become the diverse and inclusive industry it needs to be, the CFDA said.

The coronavirus pandemic has made achieving those goals more difficult. The global health crisis has decimated brick-and-mortar retail, as Ascena Retail, Neiman Marcus Group, Lord & Taylor and Brooks Brothers, among others, filed for bankruptcy protection, and consumers move further toward digital commerce.

The labels people know and trust are popular in times of trouble, said Teri Agins, author of Hijacking the Runway: How Celebrities are Stealing the Spotlight From Fashion Designers. And cheap. Forget race, lets talk about economics its huge. Fashion has always been a bad investment. Youre not going to get financing. Theyre no infrastructure thats going to nurture you.People need to understand the realities of the industry. Were kind of beyond racism now.

Agins predicted the end of mega-brands and a return to small businesses that cater to different tribes, posing fewer opportunities for new labels. Well go back to small and discreet. Peoples priorities are different luxury resale and Rent the Runway.One or two designers will break through, but I have my doubts about there being any big businesses. This is an industry thats changed. We dont have a lot of independent restaurants because the overhead favors chains. The same is happening in the fashion business.

Asked if high-profile Black designers such as Yeezys Kanye West and Virgil Abloh, Louis Vuitton mens wear artistic director and Off White founder, have a responsibility to help fledgling talents, Agins said, I would argue that neither Virgil nor Kanye has made it because they have no track record, no clout. Kanye is a celebrity, in same vein as Sean Combs and Russell Simmons. Theyre wealthy people, who are able to underwrite their own businesses, like [The Rows] Ashley and Mary-Kate Olsen and Victoria Beckham.

Kanye has been in business for five minutes and Virgil is an employee of LVMH, Agins added. This is a very complex business. I tell people who want to be designers, Go work for somebody and learn, get the sources and resources, and get the experience, so when youreready to go out on your own, youll really be ready.

A multi striped tiered maxi slip dress from Hope for Flowers by Tracy Reece

Theres a barrier torepresentation for designers of color, said veteran designer Tracy Reese. When I started my collection for the second time, in 1996 and 1997, we had a showroom in New York. I went to L.A. to findrepresentation. It was challenging. I was able to get appointments, but when I came through the door, it was like, Oh. I saw all the repscontemplating.Everyone was cordial, but I could tell they werent taking me very seriously.

Reese was no newbie at the timeher designs were sold at Barneys New York and Saks Fifth Avenue. It wasnt until I met with Terry Sahagan at TSS that it clicked, she said. She didnt care what color I was. We had a connection. I was walking in with a track record and credentials. [The other reps] were seeingpotential road blocks, and looking at me and wondering, Will she be able to produce the orders?

Reese said the bankruptcies of troubled retailers whose problems were exacerbated by COVID-19 are giving pause to surviving players, which will be more cautious and less willing to bring on new designers.

Buyers are only interested in a stores top 15 to 20 resources, and ears are shut to a lot of newness, unless someone in a position of power is pushing for it, Reese said. They have this tiny window ofcuriosity.Everybody ischasing after the same brands. Theyre not training people to be merchants anymore. Theresnot a lot of humanity oremotion. Everything is so high stakes and theyre in such terrible shape financially, that everything is a numbers game.

Heres the thing, she said. Designers of color, if you want to reach a broad audience, you have to decide, are you going to design products that appeal to everyone, or just people of color? You should be representing everyone. Whats beautiful about America is we can have an incredible mix of cultures and creativity.

Reeses new collection, Hope for Flowers is designed for a diverse tapestry of consumers. Launched in her home town of Detroit, Hopes message for the environment and society is that both need care and nurturing. The designer is weaving social and ecological practices into Hopes sourcing and operations,and working with organizations such as Nests Makers United Project to foster an ecosystem of responsible, equitable fashion manufacturing in Detroit.

Reese said she was surprised when a top global e-commerce site with a sustainable initiative dismissed Hope for Flowers without any consideration.

An assistant emailed and said theyre covered in this type of product, Reese said. We didnt even get to have a conversation or speak to a buyer. Im thinking, Youve got fewer than 10 resources out of 1,000 under your sustainable umbrella. How can you tell us youre covered without seeing the actual product? You dont knowwhyyoure getting the cold shoulder.

Tracy Reese launched Hope for Flowers in her home town of Detroit.

Reese wants Hope consumers to speak out and use their power as consumers to be agents for positive change in the world.

The designer said it was painful when her longtime wholesale account Anthropologie was accused in June of racially profiling Black shoppers. When I spoke to them about it, they were doing a lot of soulsearching, she said. Theytalked about doing racialsensitivity training and how they treat customers. I hope were going tohave more conversations.

Anthropologie on its Instagram account apologized for making any customers feel unwelcome, saying it was deeply saddened and disturbed about the reports, and said it held mandatory diversity and inclusion training at all stores, and promised to increase the representation of Black models, influencers and brand partners.

You get used to it, but you shouldnt have to, Reese said of racial profiling, adding that she's been profiled at high end retailers. I make sure I look a certain way when I walk into a store, so I dont have a problem. Weve all had incidents that come with being Black.

I dont see Anthropologie being any better or worse than other retailers, said Reese. The shock is that it seems like such an inviting place, so its more hurtful when you findthat youre unwanted. Everybodys surprised whenthis is brought to light. We dont get the chance to move through life in anyone elses skin.

Theres always this line I have to tow, said Seun Olubuodun, who in 2009 launched Duke & Winston, a Philadelphia-based brand for bulldog enthusiasts, built around his charismatic dog, Duke. My customers are conservative. I had to tell my assistants, Say you own the company at trunk shows. Ive sent my assistant into stores and the reception was fine. When I went, it was totally different. If you want a consumer base beyond Black customers, you have to feel comfortable. Theres a huge discomfort because white allies dont realize how subtle [racism] is.

Seun Olubodun with Duke, the namesake of Duke & Winston.

At the height of the business, Olubodun operated three stores in Philly. Urban Outfitters picked up the brand. Then, the rents shot up and Olubodun closed the stores. After regrouping, he relaunched in November. In 10 years of business, Ive learned a ton, he said. I talk to a lot of kids to give them some insight. Its a little hard to talk about the business without seeming like Im complaining. Ive kind of been accepted, but Ive noticed that when I try to make the brand more inclusive of my own people, theres aways a backlash.

Olubuodun met with investors and venture capitalists who liked the brand, but there was often a racial element to the discussions. At a lot of these meetings, they try to home boy you, he said. The meetings never really went well. I went into them with a chip on my shoulder because it was all wealthy white guys. You walk away feeling more confused and feeling angry.

The, there were the micro-aggressions. Oh, Duke & Winston is yours? Wheres your team? Olubuodun said, Theyd test you and see if they could get under your skin. Theres an intimidation factor. I had to tone down my confidence level a little bit. I would see my peers get funding, without having a penny in revenue, just a concept.

African Americans drive $1.3 trillion in spending power, said Brandon Allen, a founding partner in TXE, a Dallas-based VC firm thats working with Olubuodun. We are in many ways the creators of American culture. Theres no American culture without Black culture.

In the case of fashion, minority designers are creating streetwear and white-owned brands appropriate it, Allen said. Theres a lot of debate here, and a lot of it is fraught. In certain industries, you have to know certain people and there are structural impediments keeping people out. We have accelerators that help entrepreneurs. One of my hopes for the current atmosphere is that people will be more intentional and give resources to young designers likes Seun.

Bree Clarke has no interest in venture capital or investments and loans of any kind. Were frugal, said Clarke, who with husband, Carlos, launched The Iman Project, a multi-pronged Dallas-based company that showcases Bree through live and virtual workshops, podcasts, a pop-up market, blog, event spaces, and more. When we got together we slept in our car, she said. We moved into my Honda Accord, took showers at a 24/7 fitness club and changed our clothes at Target. I have a tattoo of a little house on wrist to remind of us of where we came from.

Bree Clark, founder and creative director of The Iman Project, uses Open Table workshops to teach ... [+] the art of flower arranging, and talk about tolerance.

In the beginning, Clarke targeted the wedding industry, marrying the Lavender and Mint farmhouse tables she and Carlos built in their garage with her love of flowers. The wedding industry is about one look, she said. They wanted my farmhouse tables, but they wouldnt credit them. They wanted the tables, but didnt want me. The event planner, a skinny white woman, was getting all the recognition.

When I started making the tables, I was excited that we were going to be part of a magazine, Clarke said. It was me wanting that recognition and wanting a seat at the table. Id go to workshops and no one spoke to me. Im a big, 200-pound woman with big curly hair. I was told, Your name will get bigger than mine. I couldnt find a group to be part of.

A lot of the Black creators and Black artists kept on sending their stuff. I said the credits werent enough, said Clarke. I took away my tables, but gained my power. I created my own lane, but made sure everyone was welcome.

At Clarkes On the Table, Workshops with a Purpose and virtual Bree Blooms workshops, participants are provided flowers and vases and to make arrangements. We create a safe place for uncomfortable conversations about racism, diversity, equality and identity, Clarke said.

The Little House Projects Little House on Routh and Little House of Bishop Arts are small events spaces lovingly restored by the Clarkes. We open in areas that are gentrified. We make sure theres a place for Blacks. The uptown location is predominantly white and the house used to beslave quarters, Clarke said of Routh. I thought it would be cool to take something that had so much pain and bring some light to it.

In 2020, its okay to, say, racism and race. Diversity and inclusion are the safe words, said Clarke.My workshops launched nationally. Now, its not a local message, Im reaching people all over. Im able to create with my hands and my heart, and Im bettering the community and society.

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Non-Black POC, It’s Time to Educate Ourselves and Become True Allies – The Emory Wheel08.10.20

I cant count the number of times Ive let anti-Black racist remarks from family members slide simply because I was afraid to confront them about their behavior. When I was finally able to muster the courage to explain how offensive their statements were, my words never seemed to be enough to help them understand their role in systemic racism. I grew up living a life of passivity, wrongfully accepting that my parents would never be able to embrace the Black community.

After witnessing the wave of Black Lives Matter protests, petitions and resources to aid the fight against anti-Black racism, I realized that in remaining silent, I was just as complicit as my parents. Ahmaud Arbery, Breonna Taylor, George Floyd and hundreds of other innocent Black victims should not have had to die for non-Black people of color (POC) to speak out and show their support. As non-Black POC, we must spread awareness about damaging anti-Black behavior and learn to relinquish personal biases against the Black community. To become true allies, we must stop the performativity that only serves to increase our social capital and instead educate ourselves and effect measurable change within our respective communities.

To become effective allies, we must understand how racism, sexism and classism all specifically compound upon Black livelihoods. Each minority group has unique experiences, and being non-Black, I will never understand the hardships Black people face. To be actively anti-racist, non-Black POC should recognize and study how we have individually upheld anti-Blackness and learn to uplift Black voices and experiences.

Social media is an excellent tool to educate ourselves; it provides a vast network of anti-racist resources and readings. Accounts like Black Lives Matter (official account for the Black Lives Matter Global Network), BlackVisions (a Black-led organization based in Minnesota), Black at Emory University (Black students experiences on campus), Ziwe Fumudoh (a Black political and racial commentator), Ijeoma Oluo (author of So You Want To Talk About Race), Rachel Cargle (Black academic, writer and lecturer), Black In The Ivory (Black academics experiences with racism) and South Asians 4 Black Lives (a page that explores anti-Blackness in South Asian communities) are all great starting places.

Books and movies on race that center Black voices and experiences are also key learning resources. But, we must avoid reducing Black art to just educational experiences. Its important to remember that these art forms showcase the exceptional and undeniable merits of Black artists. By seriously engaging with these resources and sharing them among non-Black peers, we will be better equipped with the tools to dismantle insidious and entrenched forms of anti-Blackness and truly understand our role in sustaining this flawed system.

I have probed the sources of my own racist behaviors by taking several implicit bias tests. I would advise all individuals to take these tests and identify their own prejudices. Regardless of the score, I believe its important to identify inherently racist beliefs and points of education.

After reading an insightful article explaining the many ways Asians perpetuate anti-Black racism, I realized that my complacency was the root of my own personal biases. Skin lightening, a practice that runs rampant in South Asian culture, framed my view of darker-skinned individuals as inferior. I come from a family of light-skinned South Asians that have prided themselves on the color of their skin for far too long. For years, I was taught that our skin tone could help us further assimilate into a white-dominated society and distance ourselves from other South Asians around us. I never understood my active role in colorism, and I am horrified that something uncontrollable like skin color can dictate a persons success and status, not only in Asian communities but throughout all cultures.

Additionally, my belief in the model minority myth has prevented me from becoming a true anti-racist. This phenomenon falsely promotes the idea that Asian individuals are superior to their other minority counterparts. Reporter Jeff Guo attributed this myth to the slow dismantling of discriminatory practices against Asian Americans, after which white Americans began to praise Asian individuals for their dedication and respect; Black Americans, on the other hand, continued to face systematic dehumanization. To directly compare the merits of either minority group is not just meaningless it is also actively racist. To promote equality and growth in communities that have conventionally believed in these stereotypes, we must approach these conversations with an intersectional lens.

Beyond education, we must take action to measurably support the Black Lives Matter movement. Sign petitions that promote racial equality, such as those pushing to bring Breonna Taylors killer to justice and encourage national action against police brutality. Donate to organizations that raise money for Black individuals and communities of color, such as Atlanta Solidarity Fund, Protest and COVID-19 Emergency Response Fund, The Bail Project and the George Floyd Memorial Fund. Be an active supporter; participate in a way that is meaningful and feasible.

Its important to realize that, while media reports of national protests have waned, the fight for equality is not over and activism is still alive and well in our communities. We must understand how our complacency and harmful biases facilitate anti-Black racism in the United States. While white Americans are largely responsible for the injustices faced by Black people today, non-Black people of color also perpetuate anti-Blackness within their own communities. We must learn from our mistakes and rectify our behaviors to eliminate racism within ourselves.

Sara Khan (23C) is from Fairfax, Virginia.

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Non-Black POC, It's Time to Educate Ourselves and Become True Allies - The Emory Wheel

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League of Legends adding a new set of anime-inspired skins, including sexy Thresh – Polygon07.09.20

League of Legends is adding more anime-inspired skins to the game. The Spirit Blossom skin line features Teemo, Thresh, Vayne, Yasuo, and the newly announced champion, Lillia.

The line was originally teased at a panel at Anime Expo Lite and now has been fully revealed.

The most notable thing about this batch of skins is that Thresh has been turned human. And not just human, hes a hot anime human. Nobody asked for sexy Thresh but Riot Games delivered him to us anyway.

Judging from the splash art alone, we can infer that Yasuo is the hero of this skin line, as hes sporting obviously brighter colors. Thresh, Vayne, and Lillia are all immersed in darkness, possibly serving as villains. Teemo seems like a wandering nomad, but given that hes Teemo, it could really swing either way.

Spirit Blossom Vayne, Lillia, Yasuo, and Teemo will all cost 1,350 RP, which is around $10. Spirit Blossom Thresh will be 1,820 RP, which costs around $15.

These skins should be added to the Public Beta Environment for testing soon with the rest of the patch 10.14 content. Artwork for each of the new skins can be found below.

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