bomber - a dutch graff’ short film
“Only the ghetto consciousness will understand it and only the ghetto consciousness will enjoy it” - KRS-One - 1989
Bomber
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bomber - a dutch graff’ short film “Only the ghetto consciousness will understand it and only the ghetto consciousness will enjoy it” - KRS-One - 1989
Bombers_-_Graffiti_Short_Film.mp4 Watch on Posterous
Bomber
by Constant van Hoeven
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Free Huey P Newton “You can jail a Revolutionary,
but you can’t jail the Revolution”
- Huey Newton
See the full gallery on Posterous
Free Huey P Newton
“You can jail a Revolutionary,
but you can’t jail the Revolution”
- Huey Newton
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“You can jail a Revolutionary, but you can’t jail the Revolution.”
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“When I was in jail, I was a lot of people’s favorite person. I practically ran the jail. I had more freedom than the police.”
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“What I learned in jail is that I can’t change. I can’t live a different lifestyle-this is it. This is the life that they gave and this is the life that I made.”
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“I was kind of excited about going to jail the first time and I learnt some great dialogue.”
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“I just spent 11 and a half months in a maximum-security jail, got shot five times, and was wrongly convicted of a crime I didn’t commit.”
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Ngātahi - Know The Links/ Te Kupu
Director/producer/camera/editor - Dean Hapeta aka Te Kupu
Ngātahi - Know The Links is a six part rapumentary on street arts and activism amongst native and marginalised people in twenty-two countries.Creator Dean Hapeta aka Te Kupu presents the latest and final part in this series and will be in attendance to answer questions about his work.
Part six features interviews and footage from Budapest (Hungary), Belgrade (Serbia), Beijing (China), Rio De Janeiro and São Paulo (Brazil). Giving viewers access to expressions, sights and sounds not usually experienced outside of progressive discourse and conscious Hiphop circles.In production since 2000 and filmed in 22 countries the complete series is over nine hours duration packaged in a six DVD box set (single episodes are also available).
Official selection at Sundance Film Festival 2004 (Festival Cut), part five screened on Māori Television in 2009.Solidarity, a 23 minute music documentary on Upper Hutt Posse’s visit to the USA as guests of the Nation of Islam in 1990, will also be screened.
See the full gallery on Posterous
Media_Ngātahi_#6_World_Premiere_Thursday_7_June_+_short_bio.pdf Download this file
NGĀTAHI_.pdf Download this file
Koha / Gold Coin entry
Ngātahi - Know The Links/ Te Kupu
| Director/producer/camera/editor - Dean Hapeta aka Te Kupu   |
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Power to the People! Emory Douglas See the full gallery on Posterous
Emory Douglas (born May 24, 1943 in Grand Rapids, Michigan) worked as the Minister of Culture for the Black Panther Party from 1967 until the Party disbanded in the 1980s. His graphic art was featured in most issues of the newspaper The Black Panther (which had a peak circulation of 139,000 per week in 1970)[1] and has become an iconic representation of the struggles of the Party during the 1960s and 1970s. The San Francisco Chronicle reported that Douglas “branded the militant-chic Panther image decades before the concept became commonplace. He used the newspaper’s popularity to incite the disenfranchised to action, portraying the poor with genuine empathy, not as victims but as outraged, unapologetic and ready for a fight.”
As a teenager, Douglas was incarcerated at the Youth Training School in Ontario, California; during his time there he worked in the prison’s printing shop. He later studied commercial art at San Francisco City College.
See the full gallery on Posterous
Colette Gaiter writes:
“
Douglas was the most prolific and persistent graphic agitator in the American Black Power movements. Douglas profoundly understood the power of images in communicating ideas…. Inexpensive printing technologies— including photostats and presstype, textures and patterns —made publishing a two-color heavily illustrated, weekly tabloid newspaper possible. Graphic production values associated with seductive advertising and waste in a decadent society became weapons of the revolution. Technically, Douglas collaged and re-collaged drawings and photographs, performing graphic tricks with little budget and even less time. His distinctive illustration style featured thick black outlines (easier to trap) and resourceful tint and texture combinations. Conceptually, Douglas’s images served two purposes: first, illustrating conditions that made revolution seem necessary; and second, constructing a visual mythology of power for people who felt powerless and victimized. Most popular media represents middle to upper class people as “normal.” Douglas was the Norman Rockwell of the ghetto, concentrating on the poor and oppressed. Departing from the WPA/social realist style of portraying poor people, which can be perceived as voyeuristic and patronizing, Douglas’s energetic drawings showed respect and action. He maintained poor people’s dignity while graphically illustrating harsh situations.”
Power to the People! Emory Douglas
Emory Douglas (born May 24, 1943 in Grand Rapids, Michigan) worked as the Minister of Culture for the Black Panther Party from 1967 until the Party disbanded in the 1980s. His graphic art was featured in most issues of the newspaper The Black Panther (which had a peak circulation of 139,000 per week in 1970)[1] and has become an iconic representation of the struggles of the Party during the 1960s and 1970s. The San Francisco Chronicle reported that Douglas “branded the militant-chic Panther image decades before the concept became commonplace. He used the newspaper’s popularity to incite the disenfranchised to action, portraying the poor with genuine empathy, not as victims but as outraged, unapologetic and ready for a fight.”
As a teenager, Douglas was incarcerated at the Youth Training School in Ontario, California; during his time there he worked in the prison’s printing shop. He later studied commercial art at San Francisco City College.
Colette Gaiter writes:
| “ | Douglas was the most prolific and persistent graphic agitator in the American Black Power movements. Douglas profoundly understood the power of images in communicating ideas…. Inexpensive printing technologies— including photostats and presstype, textures and patterns —made publishing a two-color heavily illustrated, weekly tabloid newspaper possible. Graphic production values associated with seductive advertising and waste in a decadent society became weapons of the revolution. Technically, Douglas collaged and re-collaged drawings and photographs, performing graphic tricks with little budget and even less time. His distinctive illustration style featured thick black outlines (easier to trap) and resourceful tint and texture combinations. Conceptually, Douglas’s images served two purposes: first, illustrating conditions that made revolution seem necessary; and second, constructing a visual mythology of power for people who felt powerless and victimized. Most popular media represents middle to upper class people as “normal.” Douglas was the Norman Rockwell of the ghetto, concentrating on the poor and oppressed. Departing from the WPA/social realist style of portraying poor people, which can be perceived as voyeuristic and patronizing, Douglas’s energetic drawings showed respect and action. He maintained poor people’s dignity while graphically illustrating harsh situations.” |
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Enterprise Great Fake Taupo… What is it with Taupō?!? There’s a Fake Arts Festival & now Fake Business Enterprise that admits it delivers nothing for a considerable amount of public funding - $150,000
… & now the Enterprise Fake Taupō wants a further $200,000 to deliver no promises!
With a some investigation the minutes of the business enterprise (on their website) also indicate they apply & receive funding & grants from business, agencies & probably further public funding sources.
“We haven’t done very much business attraction yet.” says agency manager Fritz… an ex failed businessman & bankrupt. Frohlke also admits the funds would boost the work the agency already does to facilitate business with services like Business Mentoring New Zealand, a non profit trust that offers one-on-one assistance by a volunteer community business mentor.
The recent application for more funds was supported by Destination Lake Taupo, Chamber of Commerce & Towncentre Taupo - representatives of all these agencies sit on the board of the Enterprise Great Lake Taupo Trust.
SELF SERVING AGENTS OF OUR COMMUNITY!
See the full gallery on Posterous
Enterprise Great Fake Taupo…
What is it with Taupō?!? There’s a Fake Arts Festival & now Fake Business Enterprise that admits it delivers nothing for a considerable amount of public funding - $150,000
… & now the Enterprise Fake Taupō wants a further $200,000 to deliver no promises!
With a some investigation the minutes of the business enterprise (on their website) also indicate they apply & receive funding & grants from business, agencies & probably further public funding sources.
“We haven’t done very much business attraction yet.” says agency manager Fritz… an ex failed businessman & bankrupt. Frohlke also admits the funds would boost the work the agency already does to facilitate business with services like Business Mentoring New Zealand, a non profit trust that offers one-on-one assistance by a volunteer community business mentor.
The recent application for more funds was supported by Destination Lake Taupo, Chamber of Commerce & Towncentre Taupo - representatives of all these agencies sit on the board of the Enterprise Great Lake Taupo Trust.
SELF SERVING AGENTS OF OUR COMMUNITY!
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NO IMAGE AVAILABLE ACTIONSSPEAK LOUDER THANWORDS!
See the full gallery on Posterous
The_Anarchist_Cookbook.pdf Download this file
anarchistcookbook2000.pdf Download this file
Various_Authors_Ecodefense_A_Field_Guide_to_Monkeywrenching_a4.pdf Download this file
