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Angela Bassett visits the Ilê Aiyê headquarters and dances alongside Taís Araujo Actresses are in the capital of Bahia for the Liberatum Festival By gshow Angela Bassett and Taís Araujo visit Ilê Aiyê — Photo: Lucas Ramos/Brazil News Confirmed presence at the Liberatum Festival starting on Friday (3), in Salvador, Bahia, actress Angela Bassett is already enjoying the capital of Bahia. On the afternoon of this Thursday (2), she visited the headquarters of the Ilê Aiyê Afro bloc, met those responsible for the cultural group and was symbolically crowned. Furthermore, he had fun alongside actress Taís Araujo , with whom he danced to the sound of the drums. "It's the most beautiful thing in the world, I've been an admirer of Angela for many years, it's beautiful to meet her, to see her getting to know the culture of Brazil, she's excited, it was very beautiful", said Taís, in a chat with gshow . "A day to never forget! Thank you very much, Salvador. Thank you very much to Ilê Aiyê and Dete Lima for giving me the honor of being dressed by you", she added on Instagram. Angela Basset has fun and dances alongside Taís Araújo- a video is present at the URL linked below Other famous Brazilians are also there, such as actress Luana Xavier, singer Majur and influencer Hugo Gloss. From tomorrow until the 5th, Angela, Taís and all the guests will focus on Liberatum, which acts as an international platform to defend equality, diversity and inclusion and takes place for the first time in Brazil after 13 editions around the world. With free programming and open to the public, anyone who stops by will be able to watch the panels with appearances by great world stars, such as Viola Davis, Angela Bassett and Debbie Harry, and great stars of Brazilian cinema and music, such as Taís Araújo, Seu Jorge and Karol Conká. Angela Bassett visits Ilê Aiyê — Photo: Lucas Ramos/Brazil News Angela Bassett and Majur visit Ilê Aiyê — Photo: Lucas Ramos/Brazil News Angela Bassett visits Ilê Aiyê — Photo: Lucas Ramos/Brazil News URL https://gshow.globo.com/tudo-mais/tv-e-famosos/noticia/angela-basset-visita-a-sede-do-ile-aiye-e-danca-ao-lado-de-tais-araujo.ghtml

Title: Hovergirls physical version coming Artist: GDbee < https://gdbee.store/ > aka Prinnay Prior post https://aalbc.com/tc/profile/6477-richardmurray/?status=2490&type=status GDBee Post https://aalbc.com/tc/search/?&q=gdbee&type=core_statuses_status&quick=1&author=richardmurray&search_and_or=or&sortby=newest preorder https://www.barnesandnoble.com/w/hovergirls-geneva-bowers/1143848338 her social list https://gdbee.carrd.co/ FROM THE ARTIST I am SO excited to reveal the cover for the physical version of HoverGirls! It'll be hittin the shelves next summer! It's basically the webcomic completely redrawn, freshly edited, and with more story! I'm extremely proud of how it came out. The original will always be here but the new edition literally has 100 more pages of story, and 99% less typos If you love magical girls, struggling slice of life, parodies, and/or struggling slice of life magical girl parodies, you'll love HG, I promise! *It's being published by Bloomsbury in August 2024*

Sailor Medusa Birthday Treat For Princess Tranquility characters from Kuroshi-tenshi Kuroshi's Sailor Medusa loves milkshakes so I figured, a great birthday treat for Princess Tranqulity, whom the sailor protects will be a milkshake: a cup and cream like Sailor MEdusa while a cookie in its embrace is like Princess Tranquility. 3D model https://skfb.ly/oKJyp Sailor Medusa Birthday Gift by richardmurray3d on Sketchfab Colored page version https://www.deviantart.com/hddeviant/art/Adopt-August-2023-Submission-979394363 Coloring page version https://www.deviantart.com/hddeviant/art/Adopt-August-2023-Bw-979394208 Sailor Medusa side Princess Tranquility https://www.deviantart.com/kuroshi-tenshi/art/Kalfu-s-Moon-Her-first-friend-976229718 Contest from @arcencieldigitalart https://www.deviantart.com/arcencieldigitalart/journal/OPEN-Contest-3D-Art-in-all-it-s-Forms-974532840 I used Figuro to design https://figuro.io/Designer

First act, a set of educators, i think college are helping a colleague leave but they all have an affinity to this colleague, a curiosity about his nature. I concur with Bixby, real human beings are not alarmist and in this select case, all of these are seasoned educators used to slowly thinking about something, so they wouldn't call the cops or paddy wagon immediately. Why did I not guess the black leather jacket would call someone from outside first. I thought it would be billingly's character the physics or chemistry professor. Second act, a female teacher loves him, reminds me of that twilight zone , Long Live Walter JAmeson, by the dead early Charles Beaumont, but extended. I love Crude demonstration , hilarious, I am not superman. Loving Tony Todd's acting. 27:34 first seeing the ocean 28:42 he studied with the buddha, and i loved the earlier birth of the vampire myth 29:06 the first betrayal of character, leather jacket should had considered he think of being outed. Considering he called someone he is either biding time or betraying himself. 29:38 ahh well done, he was expecting, 30:31 i wish i had been here from the beginning, I concur:) 32:16 he survived the bubonic plague, typhoid , smallpox 32:53 good point, being immortal in a cage isn't desired 33:33 black leather is wrong, common sense isn't insulted by an immortal being, common sense accepts tthe unique is plausible even if it can't not be explained. 35:19 true Tony todd, but time is also the most precious thing in existence. 35:52 exactly, the second is a human construct. an algorithmic truth, not assessed from nature. 36:27 funny moment. slow movie but for those who like to overthink and like dialog fun 37:21 is he lucky? that is the point of the story 39:41 exactly, he is outside most of humanity yet still human, a minority of one 41:46 I love that he didn't go into his past wives or children by the invasive psychiatrist 42:50 good point, the one great chaotic moment is the "immortal man" chose to even do this. I comprehend the writer's point. It is a random idea in one of many lives. But I must admit, my long lived characters wouldn't do this, unless they wish to be caught or have their cycle of lives undone. 43:07 he didn't think of these people's feelings before he told them ahhh, i disagree bixby. 43:37 the psychiatrist, white haired is trying to pull off a guilt trip, i bet he was diagnosed to die soon 44:50 ahh i knew it was a tragedy, the psychiatrist wife died yesterday I love it, permit me to be infantile by myself. 46:58 my first wedding funny charades 47:54 this movie clearly couldn't make it in theaters. 48:48 love his answer to 1292 ad 50:04 funny, about the primitive tribe in new guinea:) 51:03 the older woman is a hard core christian 51:47 no way skipping the biblical figure, and now he wants to call it a night, this is what you get when you ask those who study knowledge about a person who has lived longer than common 53:10 he is jesus hahaha! 53:24 sit down edith, i know 54:16 yes, sit down edith, lovely honesity from the biologist about his kin 54:41 tony todd, modern, that's good:) 55:29 ahh he is espousing the old belief that jesus learned buddhist ways. it makes sense historically in one way. Buddhism is older than the roman empire, and from the travelers, who were common at that time, labeled magi, who traveled freely in the roman empire because of the might of the roman empire... ok. 56:41 exactly, Tony Todd, christianity was born from the multiracial roman empire. 58:26 good point, buddha /jesus/the christian god, may not be happy 59:04 you can tell this was written on bixby's deathbed, a great mortuary story. I wonder what I will write in my last moments. 59:35 hhahaha, the psychiatrist came back:) haha soul saved:) 1:00:00 nice bridge, we don't need to reintroduce the old topics for the psychiatrist, his shame on leaving. 1:00:53 great joke, nothing unusual in the path of the psychiatrist until the day he met a caveman who thought himself jesus 1:01:46 piety is the mistake they bring to the lessons haha, he is on a roll, Bixby is enjoying himself in his last days 1:03:10 thank you biologist, people make to light the influence of drugs, no, if he is taking a drug it isn't making him go up or down be violent or peaceful, it isn't changing him at all 1:04:20 thank you tony todd, i don't blame you, stay calm and relax. 1:04:55 exactly, psychiatrist, or the modern mythologies of MLKjr or Adolf Hitler 1:07:42 Its funny , in a group called african american literary book club, do you know how many black members suggest the usa will be forever? why is that? why is it, black people who knows kemet has all other human communities by thousands of years will be bested by the usa? what are blacks in the usa afraid of?.... 1:08:20 how do you know? I don't smell it. exactly, you know when it will rain , all humans do. 1:09:20 etymology, this does happen. words matter. 1:10:25 good acting, they are all trapped by this story of their colleague 1:11:00 if edith says you aren't jesus one more time 1:11:56 edith have broken down , the psychiatrist had to shed light 1:12:49 the psychiatrist is wrong, he doesn't demand the truth, he demands the lie to keep peace 1:13:44 he is bluffing, well done, he is giving them safety 1:14:22 easy tonny todd:) he want to kill him 1:15:44 it ends safe, well done bixby, he lets the thinkers get off easy 1:16:25 exactly , the woman who lives him is right. 1:17:59 edith knows. she will leave it 1:18:14 Tony Todd, a latitude in what we call reality... anything is possible I am going to watch star trek. and yes, good move tony todd Drop me a line whenever 1:19:34 the psychiatrist found out easy psychiatrist , the break down. ahh well done, Bixby, ahh the psychiatrist was a man he knew. 1;21:45 exactly, he never saw his own child again. 1:22:34 yes, let her decide hahaha, great hook, who knows, let the viewer decide. IN CONCLUSION Ok, this movie was fun, but not for the general audience. Alittle careless of him, but that is part of John's humanity, humans even long living one's will make mistakes. I know this is an aside, but i love the credits , they are large enough to see and slow enough to follow, many movies have very uncaring or cheap credits. I say, this is a well constructed example of someone long lived revealing themselves in a paraspontaneous way. Just thoughtfulness. I didn't time index from the begining cause I was watching it side relatives , we do those things in our home, but I am glad my relatives went to watch other things as I could write more specifically and i forgot some points early on:)

Artistic Truth I have said constantly that instead of complaining about what others create, just create yourself. But this goes into the realm of the battle between commerciality side creativity in the artistic environment in the fiscal capitalistic world in modernity. While I have always adhered to what my fellow artists said below. I also comprehend the challenge. that he dismisses unfairly. The problem with many people in fiscal capitalism is not that they don't have anything to say, but they want to say something that will generate money ,and that is where the creative is subdued by the statistics of commerce. All know, even if they don't say, to create art from your soul will not provide the highest probability to make money and all artists need money in a fiscal capitalistic world to eat. Nothing is impossible but making money in art is not about the artists but the viewers/listeners/readers. The creative side is controlled by the artists. The commercial side is controlled by the entire scale of financiers : from kings with a commission to the peasant who sees something for free. Create folks but accept that what you create may not be financially profitable, no matter how many people like it.

I.S.D. cup for the I.R.C.L. Tour of Earth. I.S.D. cup for the I.R.C.L. Tour of Earth. by richardmurray3d on Sketchfab Il Sol Depth cup for the champion of the Interplanetary Recycle Craft League Tour of Earth. This is the I.S.D. cup or Il Sol Depth cup for champions of the twenty third Interplanetary Recycle Craft League Tour of Earth. Each element represents something. The base represents the Interstellar Medium, the space outside the Sun's gravitational power. The golden-esque cup looking like dust/gas is the Heliosphere, yes the sphere of the sun, created by the sun which the solar system we live in exist in. I chose the color for the effect. The greyish spirals above is an interpretation of the Heliospheric current, which is shaped like an archemides spiral but after hours and hours and some lost attempts:) I just went for spiral rings. One day I may upload the sketches. In the center is the sun and the planets from mercury to Jupiter are present at top. And yes, it can be used as a sipping cup. At the bottom is a small indentation representing the milkyway. The eye where our sun resides. Sketchfab URL: https://skfb.ly/oGJuE Still image : https://www.deviantart.com/hddeviant/art/I-S-D-cup-for-the-I-R-C-L-Tour-of-Earth-960470478 The trophy was made for @arcencieldigitalart 3D art contest https://www.deviantart.com/arcencieldigitalart/journal/Contest-3D-Art-in-all-it-s-forms-956559237 The story the trophy is for is the following https://www.deviantart.com/hddeviant/art/The-Final-Distance-Of-The-Twenty-Third-I-R-C-L-To-947551245 The story was made for the promoting positivity challenge from @rtnightmare https://www.deviantart.com/rtnightmare/journal/Promoting-Positivity-December-Challenge-937526879 It was because of @moonbeam13 I learned of the contest so consider following her folks https://www.deviantart.com/moonbeam13/status-update/ArcencielDigitalArt-is-hosting-a-new-956762859 image aided in use https://en.wikipedia.org/wiki/Heliosphere#/media/File:PIA22835-VoyagerProgram&Heliosphere-Chart-20181210.png https://en.wikipedia.org/wiki/Milky_Way#/media/File:UGC_12158.jpg I used Figuro to create https://figuro.io/Designer and Sketchfab to display https://sketchfab.com/richardmurray3d

I am Vanessa Guillen My thoughts are after the transcript Metrofocus video https://www.thirteen.org/metrofocus/2023/01/metrofocus-january-3-2023-08ecys/ Full Documentary https://www.univision.com/especiales/noticias/2022/i-am-vanessa-guillen DESCRIPTION In April 2020, U.S. Army Spc. Vanessa Guillén was murdered after reporting her assault that took place at Fort Hood in Texas. In late November 2022, Cecily Aguilar, the only person charged in connection with Vanessa’s murder, pled guilty to four counts, including accessory to murder after the fact, and now faces up to 30 years in prison. While this decision is a victory for Vanessa’s family, the problem of sexual harassment and assault, as well as retaliation for those reporting these crimes, remains a major issue in our armed forces. A documentary, available to stream on Univision.com called #IamVanessaGuillen, covers the issue of sexual violence in our military and tells Vanessa’s story, including how her situation inspired countless others to share their own stories of abuse and push for change in the military. Joining us to discuss the film are producer and director Andrea Patiño Contreras; and Karina López, a military sexual assault survivor. TRANSCRIPT TONIGHT, A MAJOR UPDATE ON THE MURDER OF VANESSA GUILLEN, THE ARMY SOLDIER WHOSE DEATH INSPIRED THOUSANDS TO SHARE THEIR STORY OF THE SEXUAL VIOLENCE IN THE MILITARY. WE REVISIT, THE CASE, THE DOCUMENTARY TELLING THE STORY. 'METROFOCUS' STARTS RIGHT NOW. ♪ > THIS IS 'METROFOCUS,' WITH RAFAEL PI ROMAN, JACK FORD, AND JENNA FLANAGAN. > 'METROFOCUS' IS MADE POSSIBLE BY -- SUE AND EDGAR WACHENHEIM III, THE PETER G. PETERSON AND JOAN GANZ COONEY FUND, BERNARD AND DENISE SCHWARTZ, BARBARA HOPE ZUCKERBERG, THE AMBROSE MONELL FOUNDATION. AND BY -- > GOOD EVENING, AND WELCOME TO 'METROFOCUS.' I'M JENNA FLANAGAN. JUST A FEW MONTHS AGO WE BROUGHT TO YOU POWERFUL STORY OF VANESSA GUILLEN, THE U.S. ARMY SOLDIER MURDERED AFTER REPORTING THE SEXUAL HARASSMENT SHE ENDURED AT FT. HOOD IN TEXAS. HER DEATH INSPIRED COUNTLESS OTHERS TO SHARE THEIR STORY OF SEXUAL VIOLENCE AND PUSH FOR CHANGE IN THE MILITARY. PROSECUTORS SAY GUILLEN'S KILLER TOOK HIS OWN LIFE BEFORE HE COULD BE BROUGHT TO JUSTICE. ONLY ONE PERSON, THE KILLER'S GIRLFRIEND, WAS CHARGED WITH A CRIME IN THIS CASE E CECILY AGUILAR. SHE ADMITTED TO HELPING DISPOSE OF GUILLEN'S BODY. SHE FACES UP TO 30 YEARS IN PRISON. WHILE THIS IS A VICTORY FOR VANESSA'S FAMILY, THE PROBLEM OF SEXUAL HARASSMENT AND ASSAULT AS WELL AS RETALIATION FOR THOSE REPORTING THESE CRIMES REMAINS A MAJOR PROBLEM AND ISSUE IN OUR ARMED FORCES. THE DOCUMENTARY ' #I AM VANESSA GUILLEN' EXAMINES THESE ISSUES AND IS STREAMING ON UNIVISION.COM. HERE'S A QUICK LOOK FOLLOWED BY MY INTERVIEW WITH THE FILM'S DIRECTOR AND ONE THOSE IN THE FILM. IT WAS A VERY NERVOUS VOICE. SHE SAID SOMETHING HAPPENED AND NO ONE WAS BELIEVING HER. SHE DID NOT KNOW, AND SHE WAS CON CON CON CONTEMPLATING HURTING HERSELF. I DIDN'T KNOW HOW TO FEEL SAFE. I DIDN'T KNOW ANYTHING. A PART OF ME DIED BECAUSE SOMEBODY DECIDED TO DO THIS TO ME, AND NOBODY WANTED TO LISTEN. I REPORTED IT AND I FOUGHT AND I'VE GONE THROUGH THE TRAUMA AND THE RETALIATION THAT I FACED AND NOW YOU HAVE A MISSING SOLDIER THAT WAS HARASSED. I WROTE MY STORY AND PUT MY PICTURE BESIDES VANESSA BECAUSE I WAS VANESSA. I AM VANESSA. I AM VANESSA GUILLEN IS A HASHTAG GOING VIRAL HIGHLIGHTING SEXUAL ASSAULT AND HARASMENT WITHIN THE MILITARY. AT FT. HOOD, A SOLDIER GONE MISSING. THEY CREATED AN ENVIRONMENT THAT CONTRIBUTED TO SEXUAL ASSAULT, EVEN MURDER. THE ENVIRONMENT AT FT. HOOD WAS PERMISSIVE. WE'RE JUST LIKE ANY ORGANIZATION. WE'RE ALL ABOUT MAKING OURSELF BETTER. BECAUSE THE MESSAGE AND CULTURE IN THE MILITARY HAS BEEN CLEAR -- SHUT UP, SUCK IT UP, AND DON'T ROCK THE BOAT. IN THE CIVILIAN WORLD, PROSECUTORS MAKE THE DECISION TO PROSECUTE, AND THE MILITARY NONLAWYER COMMANDERS MAKE THAT DECISION. 90% OF SEX OFFENDER IN THE MILITARY WILL NEVER BE HELD ACCOUNTABLE. AFTER 246 YEART TIME FOR CONGRESS TO GIVE THE MEN AND WOMEN SERVING OUR NATION A JUSTICE SYSTEM WORTHY OF SACRIFICES. YOU MEMBERS OF CONGRESS, YOU NEED TO PASS THIS LEGISLATION. JUSTICE! WHEN DO WE WANT IT? NOW! I REALLY FEEL LIKE WE'RE ON THE VERGE OF SUCCESS. WE'RE GOING TO REFORM THIS SYSTEM AND WE'RE GOING TO GET TO A BETTER PLACE. THE WOMEN VETERANS YOU ENCOUNTER HAVE THE ABILITY TO ADAPT AND OVERCOME BECAUSE THAT'S WHAT WE HAVE BEEN TAUGHT. BUT HERE'S THE THING -- YOU'VE CREATED A WOMAN WHO IS UNSTOPPABLE. JOINING ME NOW TO DISCUSS THIS POWERFUL NEW DOCUMENTARY IS THE FILM'S DIRECTOR AND PRODUCER, ANDREA CONTRAERAS, THANK YOU FOR JOINING US. I'D LIKE TO INTRODUCE KARINA LOPEZ, A SURVEVETERAN AND SURVI THE SEXUAL ASSAULT. SHE'S THE CREATOR OF THE VIRAL HASHTAG #I AM VANESSA GUILLEN, WHICH INSPIRED THE FILM'S TITLE. LADIES, THANK YOU TO P 'METROFOCUS.' THANK YOU FOR HAVING US. ABSOLUTELY. I WANT TO START BY ASKING ANDREA, YOU, THE QUESTION I ASK ALL DIRECTORS, AND THAT WAS WHAT MOTIVATED TO YOU CREATE THIS DOCUMENTARY. WHAT WAS, YOU FELT, THE NARRATIVE THAT WAS NOT ALREADY OUT THERE? SO, DURING 2020, OUR TEAM AT UNIVISION HAD BEEN COVERING THE DISAPPEARANCE AND MURDER OF VANESSA GUILLEN, WHO WENT MISSING AT THE FT. HOOD BASE IN APRIL OF 2020, AND LATER HER BODY WAS FOUND. DURING THAT REPORTING, THE FALLING ONES, WE HEARD FROM A COUPLE OF CASES, KARINA INCLUDED. SHE REACHED OUT TO US TELLING US HER STORY, AND AT THAT POINT IN THE FALL OF 2020, WE HEARD FROM HER, AND IN DECEMBER OF 2020, I DECIDED TO FLY DOWN TO MEET HER. AND ONCE WE MET, I KNEW RIGHT AWAY THAT WE -- THERE WAS A REALLY IMPORTANT STORY TO BE TOLD. I WAS VERY STRUCK BY KARINA'S -- I TELL HER THIS ALL THE TIME -- BY HER INCREDIBLE ABILITY TO ARTICULATE HER FEELINGS AND REALLY EXPLAIN TO ME WHAT THAT WAS THROUGH AND KIND OF VERY COMPLEX -- YOU KNOW, IT'S A VERY TRAGIC SITUATION, BUT ALSO HAS REALLY DEEP AND GRAVE CONSEQUENCES FOR MENTAL HEALTH, YOU KNOW, AND KARINA, THE WAY SHE ARTICULATED THAT TO ME STRUCK ME. SO I CAME BACK FROM THAT TRIP AND KNEW THERE WAS A REALLY IMPORTANT STORY TO TELL, NOT JUST ABOUT SEXUAL VIOLENCE AND THE LACK OF ACCOUNTABILITY, BUT ALSO THE HUGE IMPACT AND LACK OF JUSTICE HAS ON SURVIVES. THAT'S WHY I WANTED TO TELL THIS STORY. FRONT AND SENTER THE STORY OF SUR SURVIVES. KARINA IS THE MAIN BUT THERE'S ALSO OTHERS. AND ALSO TELL THE STORY OF THE LEGISLATIVE CHANGES THAT TOOK PLACE BECAUSE OF VANESSA'S CASE. IN PART BECAUSE OF KARINA'S HASHTAG, MANY CAME FORWARD. MANY CHANGES TOOK PLACE. THERE'S SO MUCH MORE TO DO, BUT SOME THINGS HAPPENED THAT WERE PRISS UNPRECEDENTED. KARINA, I WANT TO BRING YOU IN AND GET YOUR TAKE ON WHAT WAS ABOUT ABOUT VANESSA'S STORY THAT RESONATED AND MADE IT CLEAR NOW IS THE TIME TO SPEAK UP? I THINK WHEN I ORIGINALLY HEARD ABOUT HER CASE ALL I HAD KNOWN IS SHE WAS MISSING AND THE DAYS KEPT GOING WHERE YOU WOULD SEE HER FACE AND YOU WOULDN'T -- THERE WASN'T REALLY AN EXPLANATION AS TO WHY SHE WAS MISSING. WHEN I TWRAEACTUALLY LOOKED UP STORY, SO MANY THINGS DIDN'T MAKE SENSE. I WAS LIKE, THERE HAS TO BE MORE COVERAGE. A COUPLE DAYS INTO IT I REALIZED I DIDN'T LOOK AT THE SPANISH SECTION OF THE NEWS AND MAYBE I'LL FIND SOMETHING THERE, AND THAT'S WHEN I -- WHEN I HEARD HER MOM SAY THAT SHE WAS SEXUALLY HARASSED AND NOW SHE'S MISSING AND SHE WANTS ANSWERS. AND TO ME IT FELT LIKE A TON OF BRICKS JUST FELL ON TOP OF ME BECAUSE THIS WASN'T BEING SAID, YOU KNOW, IN THE ENGLISH MEDIA. AND IT JUST MADE ME SO ANGRY. I REMEMBER JUST SO MANY EMOTIONS, AND I STARTED, YOU KNOW, LOOKING AT EVERYBODY. I STARTED TRYING TO GET IN TOUCH WITH THE RIGHT PEOPLE THAT COULD LISTEN AND COULD UNDERSTAND THAT THIS -- YOU KNOW, WHAT HAPPENED TO HER WAS NOT AN INDIVIDUAL THING. IT HAPPENED ALL OF THE TIME AND, YOU KNOW, MORE SPECIFICALLY, MY CASE AND HOW I HAD JUST LEFT AND I WAS FORCED OUT OF MY CAREER BECAUSE I WAS SPEAKING UP ON THIS, AND IT HAD GONE SO BAD AND CHAOTIC THAT, YOU KNOW, CONGRESS HAD TO GET INVOLVED IN MY CASE. SO IT WAS ONE OF THOSE THINGS THAT, YOU KNOW, I WAS ANGRY, I WAS SENDING, YOU KNOW, THE FAMILY -- MORE SPECIFICALLY THE SISTERS, YOU KNOW, MY STORE, AND IT JUST, YOU KNOW, WASN'T REACHING THEM, WHICH I UNDERSTAND, YOU KNOW, WHY. THERE WAS PROBABLY SO MANY MESSAGES COMING IN THERE IN BOXES AND TO THEM. AND YOU KNOW, I -- I WAS LIKE, OKAY, I'M GOING TO PUT IT ON FACEBOOK, AND I'M GOING TO COME FORWARD AND SEE WHAT HAPPENS WHEN IT'S OUT THERE. YOU KNOW, BECAUSE THIS ISN'T -- YOU KNOW, MANY PEOPLE DON'T UNDERSTAND -- ESPECIALLY CIVILIANS DON'T UNDERSTAND WHY YOU CAN'T COME FORWARD, AND YOU THINK THAT WHEN SOMETHING TRAUMATIC HAPPENS LIKE THAT THAT YOU'RE SAFE IF YOU GO TO THE RIGHT PEOPLE. HOWEVER, THAT'S REALLY NOT THE CASE. YOU CAN HAVE ALL THE RIGHT PEOPLE, AND THOSE RIGHT PEOPLE, THOSE DOORS ARE SHUT ON THEM TO PROTECT YOU. AND THE RETALIATION THAT COMES IS -- IS -- IS HORRIFYING SO, YOU MIGHT AS WELL JUST STAY QUIET AND JUST ENDURE EVERYTHING IN SILENCE. YOU KNOW, IT'S -- IT'S A VERY SCARY THING TO GO THROUGH, AND I THINK PEOPLE NEEDED TO UNDERSTAND THAT AND SEE THAT MORE SPECIFICALLY THROUGH MY STORY, BECAUSE I CAME FORWARD AND I HAD MOMENTS WHERE, SHOULD I HAVE COME FORWARD? MAYBE I WOULD STILL HAVE MY CAREER IF I DIDN'T, AND I WOULD JUST GET MENTAL HEALTH SERVICES BEHIND THE SCENES, BEHIND, YOU KNOW -- BEHIND EVERYONE'S BACK AND JUST TOOK CARE OF IT THAT WAY. YOU KNOW, WHO KNOWS? ANDREA, I WANT TO GO BACK TO YOU, BECAUSE WE DID SHOW OF COURSE A CLIP FROM THE FILM, AND WE ALWAYS DEFINITELY WANT PEOPLE TO WATCH THE FULL DOCUMENTARY, BUT CAN YOU TELL US, JUST FILL IN FOR PEOPLE WHO MIGHT NOT BE AWARE OF VANESSA'S STORY, WHO WAS SHE, AND WHAT DO WE NOW KNOW HAPPENED TO HER? YEAH, SO VANESSA WAS A LATINA SOLDIER. SHE WAS STATIONED AT FT. HOOD IN TEXAS. SHE STARTED, AND SHE WAS VERY EXCITED TO JOIN THE MILITARY. HER FAMILY SAYS SHE WAS JUST VERY PROUD TO SERVE. HER FAMILY IS AN IMMIGRANT FAMILY. THEY'RE MEXICANS, OF MEXICAN DES DESCENT, AND I THINK SHE SAW THIS AS AN OPPORTUNITY TO SERVE HER COUNTRY AND WAS JUST VERY PROUD. AT SOME POINT, VANESSA CAME HOME AND HER MOM NOTICED SHE WAS A LITTLE OFF, WASN'T SLEEPING, JUST SEEMED REALLY OFF TO HER, AND WHEN SHE ASKED HER WHAT WAS HAPPENING, VANESSA WOULDN'T TELL HER. EVENTUALLY SHE TOLD HER SHE WAS BEING SEXUALLY HARASSED BY A SARGENT, BUT SHE DIDN'T WANT TO REPORT IT BECAUSE SHE WAS AFRAID OF RETALIATION. FAST FORWARD A FEW MONTHS, AND VANESSA GOES MISSING IN APRIL OF 2020. INITIALLY -- YOU KNOW, THE FAMILY KNEW RIGHT AWAY THERE WAS SOMETHING WRONG WITH THAT, BECAUSE THEY WERE A VERY TIGHT KNIT FAMILY AND NOT HEARING FROM VANESSA WAS JUST REALLY OFF TO THEM. THEY WENT TO THE BASE. THEY WERE NOT GETTING A LOT OF ANSWERS. THEY WERE, YOU KNOW, KIND OF KEPT -- PUSHED AWAY IN SOME WAYS. BUT THEY WERE VERY, VERY PERSISTENT. THEY WERE JUST DEMANDING ANSWERS. AND EVENTUALLY, HER BODY WAS FOUND, AND WE KNOW THAT SHE WAS MURDERED BY SOMEONE IN HER UNIT. WE KNOW THAT HE WASN'T THE PERSON THAT WAS HARASSING HER NECESSARILY, BUT THERE'S STILL A LOT OF ANSWERS THAT NEED TO BE -- TO BE CLEARED OUT, AND THE FAMILY'S STILL WAITING FOR A LOT OF ANSWERS. AND THROUGHOUT THAT SEARCH, YOU KNOW, WITH KARINA'S HASHTAG WHEN VANESSA WAS STILL MISSING THOUSANDS OF PEOPLE CAME FORWARD WITH THEIR OWN STORY OF HARASMENT AS WELL. KARINA, I WANT TO GO BACK AND GET YOU TO EXPLAIN A LITTLE BIT FOR SO MANY OF US WHO ARE CIVILIAN, WHAT IS THAT MILITARY CULTURE LIKE THAT PUSHES, MAYBE COERCES, MAYBE EVEN DEMANDS THAT WOMEN WHO ARE SERVING REMAIN QUIET ON AN ISSUE LIKE THIS? THAT'S THE QUESTION I GET FROM A LOT OF PEOPLE, AND I THINK -- I DON'T THINK THAT THERE'S A REALLY GOOD ANSWER TO IT. I THINK, FOR EXAMPLE, BEFORE I JOINED MY FAMILY SAT DOWN AND TALKED TO ME ABOUT WHAT IT'S LIKE TO BE A WOMAN AND WORK IN A MALE FILLED INDUSTRY, AND THEN ME AS A MINORITY AS A WOMAN, ESPECIALLY BEING 19 YEARS OLD, BECAUSE I WAS 19 AT THE TIME. AND THEY WENT THROUGH, YOU KNOW, DIFFERENT THINGS THAT COULD BE ISSUES. YOU KNOW, THEY TOLD ME THAT I WAS VERY NAIVE, I WAS VERY YOUNG, AND YOU KNOW, THEY WANTED TO MAKE SURE I WAS SET UP FOR SUCCESS WITH KNOWING THINGS LIKE THIS. I REMEMBER MY FAMILY SHOWED ME THE LIVEINA JOHNSON CASE AND I REMEMBER THINKING, YOU KNOW, THEY'RE STILL FIGHTING FOR THIS. BUT THAT WAS THE ONLY CASE I REMEMBERED. BUT THE STATISTICS OF THAT HAPPENING TO ME WERE PRETTY LOW. HER FAMILY IS STILL FIGHTING FOR ANSWERS. THEY'RE GOING TO GET THOSE ANSWERS. I WAS VERY I WAS VERY NAIVE, VERY -- I HAD A LOT OF TRUST IN THE SYSTEM. I WAS LIKE, I'M GOING TO DO THIS. I'M GOING THE GO SERVE MY COUNTRY. I'M SUPEREXCITED ABOUT IT. THERE'S GOING TO BE A LOT OF OPPORTUNITIES. I'M NERVOUS. AND YOU KNOW, I REMEMBER BEING IN BASE, GOING THROUGH I.T., GOING THROUGH THE MILITARY PROCESS. I REMEMBER JUST HOW MANY FEMALES PULLED ME ASIDE AND GAVE ME ADVICE OR TOLD ME TO STAY AWAY FROM A SPECIFIC PERSON OR, YOU KNOW, JUST SOMETHING THAT KIND OF -- THEY WERE DOING THE BEST THEY COULD TO GIVE ME ADVICE, BUT, YOU KNOW, TO A 19-YEAR-OLD, A 20-YEAR-OLD, YOU'RE JUST LIKE, THAT'S SO WEIRD THAT THAT PERSON HAD TO COME AND TELL ME AND GIVE ME THAT ADVICE IN THE FIRST PLACE. I REMEMBER HAVING THIS REALLY, YOU KNOW, BEING SEXUALLY HARASSED IN ONE SPECIFIC INCIDENT IN KOREA, AND I DIDN'T KNOW WHAT TO DO. I FELT LIKE I WAS, YOU KNOW, SUFFOCATING AND I WAS BLOCKED INTO A KITCHEN. AND I REMEMBER GOING TO AN NCO, A FEMALE NCO AND I TOLD HER HOW I FELT BECAUSE I DIDN'T KNOW WHAT I WAS FEELING. AND SHE TOLD ME -- SHE GAVE ME ADVICE AND SHE WAS LIKE, YOU KNOW -- SHE WAS BACKING ME UP THE FULL TIME AND TOLD ME HOW TO HANDLE SITUATIONS LIKE THAT, AND SHE MADE ME CONFRONT HIM AND TELL HIM THAT WAS UNACCEPTABLE AND JUST STAND UP FOR MYSELF. SO WHEN THIS HAPPENED ON FT. HOOD AND I THOUGHT THAT I COULD DO EXACTLY THAT, THAT I WAS SHOWN HOW TO DO IT AND I WOULD GET HELP IN MY SITUATION, AND I WAS INSTEAD REDIRECTED AND GUIDED TO NOT GET THAT HELP AND INSTEAD TO JUST STAY QUIET ABOUT THAT BECAUSE THE BASE DIDN'T -- THE UNIT DIDN'T NEED EYES ON -- OR EXTRA ATTENTION ON THE UNIT. I KIND OF FELT ASHAMED. I FELT LIKE I COULDN'T STAND UP FOR MYSELF. I HAD ALWAYS BEEN THAT 19-YEAR-OLD THAT WAS LIKE, IF THIS EVER HAPPENS I'M GOING TO STAND UP FOR MYSELF, I'M GOING TO FIGHT BACK. NO ONE'S GOING TO BE ABLE TO DO THAT. THAT STARTED THAT INNER WAR WITH MYSELF WHERE I DIDN'T -- I FAILED MYSELF, BECAUSE HERE I WAS, YOU KNOW, LETTING THEM WIN AND INTIMIDATE ME AND KEEP ME SILENT, AND I FELT UNSAFE, AND THEN ON TOP OF THAT I DIDN'T KNOW HOW TO -- MY FAMILY MEMBERS WERE THE ONES WHO TOLD ME ALL OF THIS, SO THEN I FELT COMPLETELY SHATTERED, BECAUSE THAT 19-YEAR-OLD GIRL WHO WAS TELLING THEM, I WILL STAND UP AND FIGHT FOR MYSELF AND I'LL DO WHAT'S RIGHT, AND, YOU KNOW, THEY'LL HAVE TO HELP ME. NOW IT'S THE OPPOSITE. SO WHEN SOMETHING HAPPENS LIKE THAT, YOU GET -- IT'S THE SUBJECT THAT'S EXTREMELY HEAVY. SO EVEN IF YOU DO TELL THE RIGHT PEOPLE, THEY DON'T KNOW REALLY HOW TO APPROACH THE SITUATION AND THEN ON TOP OF THAT IF YOU GO TO THE WRONG PEOPLE, THE WRONG PEOPLE DON'T WANT TO YOU ACKNOWLEDGE IT AT ALL. IT'S YOUR FAULT AND THAT'S IT. EVEN WHEN I STARTED RECEIVING MENTAL HEALTH SERVICES, I HAD BEEN TOLD IT WAS MY FAULT. YOU START REALLY BATTLING YOURSELF, AND I THINK ULTIMATELY THAT'S HOW THEY KIND OF WIN, BECAUSE THEY TARGET -- THEY MAKE YOU QUESTION YOURSELF. YOU'RE NOT QUESTIONING THEM. IF YOU'RE QUESTIONING THEM YOU'RE LIKE, NO, I KNOW WHAT HAPPENED TO ME, AND THAT'S WRONG. BUT ONCE YOU HEAR IT ENOUGH AND YOU'RE IN THAT FRAGILE STATE OF MAYBE THIS WASN'T -- YOU KNOW, MAYBE THIS WASN'T THEIR FAULT. MAYBE THIS WAS MY FAULT. WHAT DID I DO WRONG? YOU'RE RETRACKING AND GOING THROUGH THE PROCESS OF, OKAY, IT HAPPENED HERE, BUT WHAT DID I DO THAT LED ME TO BE PUT INTO THE SITUATION? WELL, IT'S SOUNDING A LITTLE BIT LIKE PERHAPS ISSUES OF HIERARCHY AND CHAIN OF COMMAND ARE ALSO COMING INTO PLAY WITH YOU AS A 19-YEAR-OLD RECRUIT. FOR THE NONSERVING CIVILIAN AUDIENCE, JUST VERY QUICKLY CAN YOU JUST LET EVERYBODY KNOW, SO THEY FULLY UNDERSTAND, WHAT EXACT LY IS AN NCO? THE NCO IS BASICALLY THE -- THEY'RE KNOWN AS THE BACKBONE OF THE ARMY, OR THE MILITARY IN GENERAL. THEY HAVE SERVED FOR SOME TIME. THEY'VE GONE THROUGH THE BASIC LEADERSHIP SCHOOLS, AND THEY HAVE THAT RANK. SO THEY'RE THE ONES THAT ARE PUT IN CHARGE OF THE LOWER ENLISTED SOLDIERS SOME BASICALLY THEY ARE A FORM OF LEADERSHIP. THEY ARE SOMEONE YOU REPORT TO AND HELP YOU -- OKAY, AND DOES THAT STAND FOR SOMETHING? I JUST WANT TO MAKE SURE PEOPLE ARE LIKE, OH, THAT'S WHAT NCO IS. YES, NONCOMMISSIONED OFFICER. MY SECOND QUESTION IS ALSO -- YOU DO KEEP GOING BACK TO YOUR AGE, AND ONE THING I THINK EVERYONE CAN RELATE TO IS BEING A 19-YEAR-OLD AND THINK YOU UNDERSTAND BUT NOT FULLY UNDERSTANDING THE WORLD YOU'RE STEPPING INTO. HOW LONG AFTER YOU GOT TO FT. HOOD DID YOUR ASSAULT HAPPEN? AND I KNOW THAT YOU SORT OF TOUCHED ON IT, BUT AS MUCH AS YOU CAN SHARE, CAN YOU SHARE WITH US WHAT HAPPENED? YES. SO I JOINED WHEN I WAS 19, JUST TO CLARIFY, AND I HAD SEEN, YOU KNOW, JUST THE SEXUAL HARASSMENT FROM 19, 20, YOU KNOW, THOSE AGES. WHEN I WENT TO FT. HOOD I WAS 21 ALREADY, AND I HAD ARRIVED LATE JULY. SO I WENT THROUGH THE PROCESS OF -- THEY CALL IT -- IT'S BASICALLY FOR CIVILIAN TERMS ONBOARDING WHEN YOU FIRST GET THERE, THEY HAVE TO IN-PROCESS YOU. AND I REMEMBER SENDING MY MOM A TEXT MESSAGE, RIGHT, THAT FIRST DAY, AND I REMEMBER TELLING HER I FELT LIKE A PIECE OF MEAT. I REMEMBER TEXTING HER AND TELLING HER I WAS CRYING, BECAUSE SHE WAS LIKE, MAYBE YOU'RE GOING TO LOVE IT. I WAS LIKE, I DIDN'T WANT TO GO TO TEXAS, BUT WHATEVER. I'M SO FAR AWAY FROM HOME. I WANTED TO GO TO FT. BRAGG AND BE CLOSER TO MY FAMILY AFTER BEING AWAY FROM THEM FOR A YEAR. I'M YOUNG. I WANT TO BE CLOSE TO MY FAMILY. THAT FIRST DAY WAS FRUSTRATING FOR ME. I FELT LIKE EVERY TIME I ASKED A QUESTION THEY WERE SETTING ME UP FOR FAILURE. THEY THOUGHT IT WAS REALLY FUNNY THAT I WAS ASKING THESE QUESTIQUE QUESTIONS SO I WOULDN'T BREAK ANY RULES BECAUSE THEY WERE GIVING ME THE COMPLETE OPPOSITE ANSWER. IT WAS LIKE YOU WERE BACKED AGAINST A WALL AND I DIDN'T KNOW HOW TO BELIEVE OR DIDN'T. THAT WAS EXTREMELY FRUSTRATING. ON TOP OF THAT IT WAS THE COMMENTS AND THINGS LIKE THAT THEY WOULD MAKE. THAT WAS BEFORE I GOT TO MY UNIT. I WAS SEXUAL ASSAULTED IN SEPTEMBER, SO I HAD BEEN THERE TECHNICALLY ONE FULL MONTH AND A COUPLE WEEKS. BUT ALSO WITH THAT, TOO, YOU KNOW, ONE THING I ALWAYS TELL PEOPLE IS, WE GROW UP WITH OUR PARENTS TELLING US DON'T TALK TO SPRAI STRANGERS, DON'T GET IN THE CAR WITH STRANGERS, BUT IN THE MILITARY, YOU DO WHAT YOU'RE TOLD, SO THERE WERE A LOT OF TIMES THAT I WAS IN A CAR WITH A STRANGER, BECAUSE I -- YOU KNOW, SOMEBODY WHO WAS SUPPOSED TO PICK ME UP DIDN'T SHOW UP, SO THEY SENT SOMEONE ELSE. SO TECHNICALLY I'M GETTING IN THIS CAR ON A BASE WHERE I HAVE NO IDEA WHERE ANYTHING IS OR WHO ANYONE IS AND THEY'RE DRIVING ME AND IT'S LIKE, OH, I NEVER MET THIS PERSON IN MY LIFE. SO IT KIND OF GOES INTO THAT KIND OF SITUATION WHERE IT'S LIKE, WE'RE TOLD OUR WHOLE ENTIRE LIVES NOT TO GET INTO CARS WITH STRANGERS AND THINGS LIKE THAT, BUT THEN THAT'S WHAT WE DO IN THE MILITARY. AND BEING THAT YOUNG AND STILL, YOU KNOW, DOING WHAT YOU'RE TOLD, YOU THINK THAT WHAT YOU'RE BEING TOLD IS LAW AND YOU HAVE TO DO IT. SO THERE'S A LOT OF INTIMIDATION THAT COMES INTO WHEN YOU'RE TELLING YOUNGER SOLDIERS, HEY, YOU HAVE TO DO THIS OR YOU HAVE TO BE HERE AND IN A LOT OF CASES AND A LOT OF STORIES, THAT, ESPECIALLY FROM THE SURVIVES THAT CAME FORWARD WITH THE HASHTAG, THEY'LL TELL YOU, I WAS DOING WHAT THEY TOLD ME TO DO BECAUSE I THOUGHT THAT'S WHAT WAS EXPECTED FROM ME. THERE'S A LOT THAT GOES INTO BEING YOUNG. I HAVE HAD SURVIVES TELL ME THAT THEY WERE 25, 26 EVEN, AND STILL, IT'S THAT -- IT'S JUST WHEN YOU COME INTO THE MILITARY, EVERYTHING IS COMPLETELY BRAND NEW BECAUSE IT'S NOT THE CIVILIAN WORLD. IT IS ABOUT AGING BUT IT'S THAT INTIMIDATION FACTOR WHERE YOU HAVE SOMEBODY SUPERIOR TO YOU OR TELLING YOU OR GIVING YOU AN ORDER THAT IF YOU DON'T FOLLOW THAT ORDER YOU COULD GET IN TROUBLE. IT'S ALSO, I DON'T WANT TO MAKE THIS PERSON UPSET, BECAUSE THIS PERSON LEGIT HOLDS ALL OF THE POWER FOR MY CAREER. MY CAREER PROGRESSION AND MY REPUTATION AS WELL. BECAUSE IF I DON'T DO THIS, THEN THAT PERSON'S GOING TO GO AND TELL EVERYONE THAT I'M A BAD SOLDIER AND I DON'T LISTEN AND I'M DISRESPECTFUL. IN MY CASE, YOU SEE THAT WHERE IT'S LIKE, EVERY TIME I WOULD COME ALL OF A SUDDEN SOMETHING WOULD COME OVER MY HEAD AND SAY, YOU WANT TO GO TO I.G.? HERE'S THIS. WE'RE GOING TO SAY YOU DID THIS. IT'S LIKE, WAIT A MINUTE, WHY ARE YOU BRINGING THIS UP AT THIS EXACT MOMENT WHEN I'M TRYING TO GET HELP? IT SILENCES YOU AGAIN AND YOU JUST KEEP GOING ON WITH YOUR LIFE, UNABLE TO LOOK AT YOURSELF IN THE MIRROR AND REALIZE, YOU'RE JUST STUCK. WELL, ANDREA, I WANT TO BRING YOU BACK IN. WE ONLY HAVE ABOUT A MINUTE LEFT, BUT YOU DID MENTION ABOUT SOME OF THE LEGISLATIVE CHANGES THAT WERE BEGINNING TO TAKE PLACE. CAN YOU JUST LET US KNOW WHAT IS POTENTIALLY ON THE TABLE TO HAPPEN TO ADDRESS SOME OF THESE ISSUES? YEAH. THE BIGGEST CHANGE THAT HAPPENED LAST YEAR -- ONE OF THE MAIN ISSUES IN THE MILITARY, GOING BACK TO KARINA'S STORY IS THAT BASICALLY THE MILITARY -- YOU KNOW, LIKE, CHECKS THEMSELVES. YOU HAVE -- IF YOUR CASE IS IN THE CHAIN OF COMMAND, IT'S YOUR COMMANDER WHO DECIDES WHETHER THE CASE OF ASSAULT OR HA HARASSMENT IS PROSECUTED. CHAIN OF COMMAND IS NONLAWYERS SO IT'S NOT AN UNBIASSED BROSS. FOR DECADES ACTIVISTS HAD BEEN WANTING TO TAKE THOSE CASES OUT OF THE CHAIN OF COMMAND TO A BODY THAT WOULD REGULATE, AND THAT WAS ACHIEVED LAST YEAR FOR THE FIRST TIME, AND IT'S A HUGE CHANGE. IT'S GOING TO TAKE A FEW YEARS FOR IT TO BE IMPLEMENTED. BUT THERE ARE OTHER THINGS THAT STILL NEED TO CHANGE. FOR INSTANCE, THOSE -- THE CASES THAT WE'RE TAKING OUT OF THE CHAIN OF COMMAND WERE SEXUAL ASSAULT BE AND MURDER AND OTHER REALLY GRAVE ASSAULTS. BUT FOR INSTANCE SEXUAL HARASSMENT WAS NOT TAKEN OUT OF THE CHAIN OF COMMAND, AND THAT IS VERY CONTRADICTORY BECAUSE SEXUAL HARASSMENT IS A HIGH INDICATOR OF SEXUAL ASSAULT, RIGHT? SO IF THE COMMANDERS ARE STILL HANDLING THOSE CASES THEN IT KIND OF FEELS LIKE A BIT OF A CONTRADICTION. LIKE, PEOPLE ARE NOT GOING TO FEEL COMFORTABLE. THAT'S A HUGE CHANGE. I THINK CULTURE NEEDS TO CHANGE AS WELL, AND THAT'S OBVIOUSLY GOING TO TAKE MANY, MANY YEARS. OKAY. IMPORTANT STEPS. I DON'T MEAN TO CUT YOU OFF, BUT WE HAVE RUN OUT OF TIME. I WANT TO THANK YOU BOTH SO MUCH FOR JOINING US. THE FILM IS ' #I AM VANESSA GUILLEN'. YOU CAN STREAM IT ON UNIVISION.COM. AND OF COURSE I WANT TO THANK THE FILM'S PRODUCER AND DIRECTOR, ANDREA. THANK YOU SO MUCH FOR JOINING US. AND OF COURSE KARINA, ALSO, THANK YOU FOR JOINING US, AND THANK YOU FOR SHARING YOUR STORY. SO THANK YOU BOTH. THANKS FOR HAVING US. THANK YOU FOR HAVING ME. AND ANDREA. > 'METROFOCUS' IS MADE POSSIBLE BY -- SUE AND EDGAR WACHENHEIM III, THE PETER G. PETERSON AND JOAN GANZ COONEY FUND, BERNARD AND DENISE SCHWARTZ, BARBARA HOPE ZUCKERBERG, THE AMBROSE MONELL FOUNDATION. MY THOUGHTS I recall years ago a village voice article about women in the NYPD with tons of accusations. The woman in the metrofocus video said she was 18 and naive, but when I was 12 I knew the military or nypd were not organizations for a black person to be in. Maybe I simply had honest parents but it bothers me that the woman abused was told by relatives the environment of the military was abusive to women and she thought the military would be this mythological knights of the round table place. I am not trying to suggest women should be abused by men in any environment . But, in all earnest, women who join organizations that should be commonly known as abusive to women, are fools to me. It is the same with Blacks, male or female. I don't have the desire to give lenience to a person, in my opinion, who should know better. Women, stop joining the military, that is the answer. I have always called feces of bull on Black people who feel joining organizations that are clearly anti black is the best way to change them. I have always felt that is a stupid thing to do and has no proof of being a historically valid strategy. The NYPD is still anti black, the military, anti black, the federal government anti black. Am I wrong? If you want to change an organization , the best thing to do is to not try to change it and make a new one with a similar purpose that you control so you can start it with the cultural principles you want. It is that simple.

Black Home Movies Sir Solomon Jones’ Home Movies, 1925-1926 The Sir Solomon Jones home films are a dynamic showcase of Black living. His movies are some of the earliest accessible intracommunity chronicles of Black life. Solomon Jones displays the intimacy of hairdressing, football games, and Turkey Day in this silent survey. URL https://blackfilmarchive.com/Sir-Solomon-Jones-Home-Movies-1925-1926 URL https://beineckelibrary.aviaryplatform.com/collections/1058/collection_resources/35014 Wedding Reception What does tenderness look like? In this short home movie, Thomas F. Freeman records the pomp and circumstance of the union of two hearts. URL https://blackfilmarchive.com/Wedding-Reception URL https://texasarchive.org/2011_00779

The photo above refers to the idea of Hip Hop turning 50 in the Bronx. A museum will be erected and celebrations across the city will be made. well in my view, what people call hip hop is merely a continuation of the Black poetic culture in the 1950s and 1960s which spoke more to black empowerment/africa that itself was born from earlier decades like langston hughes which you see in harlem's last poets. Mixed with the experimentation that black disk jockey's had started significantly earlier. And even the global exposure is merely continuation. If you look at Gospel then the Blues, then Jazz and then the Motown Sound<itself a version of rhythm and blues> you can see how each became more and more profitable in foreign shores. Hip Hop merely continued the long tradition in the music industry of the USA of exporting a style of Black music. .... For me, one of the tragedies of musical history is how it is presented by those in power more segmented than it is. Again, Rock & Roll is merely a variation of Rhythm and Blues which itself is a variation of the Blues. In the same way that Baroque/Classical/Oriental music in European Music is merely just versions of European Orchestral music. What I find changes more than music is the culture of people. And that is where the Bronx comes in. All the parts of hip hop were in harlem in the 1960s, but Harlem has a long musical tradition whereas the bronx was mostly white. So when the Black people from the south combined with the black folk from the carribean , immigration act in the 1960s who also combined with the white/mulatto/negra latinos, you created a multiphenotypical while also multicultural group of people who represented the future of NYC and regions of the USA. A plurality majority culturally is what Hip Hop allowed the USA to present to the humanity outside and it stunned the humanity outside who was used to Black music, but it was never attached to a culturally fluid identity like the hip hopers. Country music, which is merely white versions of the Blues mixed with european peasant music. or JAzz music which is secular southern Black music with metal instruments , ala the new orleans connection, are both very popular outside the USA but are culturally more rigid. While the Hip hoppers have an everybody's welcome attitude for the most part, that connects to the USA's reality after the immigration act of the 1960s. When Jennifer Lopez a child of the Bronx in the era of hip hoppers wanted to headline a motown show. Black people booed her and the show . why? back to my point. The key to Hip Hopers isn't their music. Everything Hip Hopers did musically you can find in Black music or music by Black people in the USA before the 1970s. Phyllis Wheatley through the last poets is the poetry. The Ragtimers through to the experimental jazz is the extreme improvisation. The Blues or its derivatives: rhythm and blues and rock and roll make up the rest. But culturally, the Hip Hoppers at their core were welcoming to all. All they wanted in return was respect. Whereas the last poets were against inviting blancos <white latinos> or white asians or white jews the Hip Hoppers welcomed all. And even that ties to the History of those whose appearance is given the text label black. Frederick Douglass to MLK jr's philosophies is embedded in Hip Hoppers aracial view. If you give the hip hopper respect, they give it to you. Content of character not color of skin. And to that end, I wonder... but anyway, congratulations to the black folk involved.

Here is the application https://www.carverbank.com/assets/files/sH4xAGTG To Apply use the following link https://www.carverbank.com/Competition The following is the application in images

Transcript or Video https://www.c-span.org/video/?522349-3/author-discussion-race-relations-black-literature

Title: One day a nigger one day a nigger caught in his hand a little star no bigger than not to understand "i'll never let you go until you've made me white" so she did and now stars shine at night author: e e cummings Book: XAIPE page 24 Title: (tonight (tonight in nigger street the snow is perfectly falling, the noiselessly snow is sexually fingering the uttery asleep houses) The brite snow likes niggers. it dozes prettily on unsafe reefs and dangerous stairs. It kisses a trillion times beautifully the sagging unlighted filth, within - which black bodies clutch and cuddle (i dreamed God took away the world, when the niggers were asleep and threw it into Hell and the white and the brown and the yellow people all turned suddenly black but God looked down and the niggers were laughing at Him. And He laughed Himself and told the snow "I want you to go down into nigger street, and put that fire out because I have called off The Last Day.") ONE Bif - -fing street-lamp and I are watching, in the perfect noiselessly air which is falling, with kissing bright sexual fingers fingering the utterly asleep street the brite snow likes niggers author: e e cummings in correspondence between scofield thayer side himself https://www.theawl.com/2011/05/a-lost-e-e-cummings-poem-discovered/

Happy 22nd birthday Deviantart

In one article, the author suggest Hollywood is broken up into parts, a white hollywood side unspoken hollywoods, while also suggesting hollywood is aracial, which means the owners are blocking an inherent universality in hollywood. He suggest Mary Alice isn't a household name, but then states she was a household name in black households... what are the points I am getting at? First, this article doesn't honor Mary Alice enough. It focuses on her work in one show, but doesn't refer to her work in los angeles for an august wilson play. I think fences. Honor artist by referring to their work. Second, for someone who loves to learn about race teaching, the opinion author forgets that opportunity in fiscal capitalism has one source, owner. Opportunity in fiscal capitalism is never about merit. It is about the owner. Who the owner wants to help. I repeat, who the owner wants to help. ... the author's point is Mary Alice was denied the career she should had by the mismanagement of fiscal capitalism in the film /television industry in the USA. Meaning what? The owners of film studios side tv stations <and later streaming/cable or other> should give opportunity based on the content of character, not the color of skin. But, If I own a film studio and I have all the films I want to produce in the fiscal year in preproduction except one. Do I give the one slot, the directors chair, to my son who didn't graduate high school, has no experience in the industry or do I give it to a graduate of howard who won awards from spike lee+ oprah winfrey + robert townsend+ in Nollywood? I will give it to my son. why? I am a racist. My bloodline is important to me over those who are not. Sequentially, i Have a negative bias towards my clan. Penultimate from the conclusion, I use the third point, ownership is the key to opportunity in fiscal capitalism. The owner can choose to give opportunity on some scale of merit. But the owner is not obliged to. You own so that you control what you do, and you can never be wrong. You may lose money. You may be cruel or mean spirited. But you are not wrong because you are the owner. Mary Alice was failed by impotency in Black Hollywood not White Hollywoods opportunity to white thespians OR impotency of Black producers in Hollywood to provide support to Black thespians, not White producers in Hollywoods support of White thespians. I can say more but I will agress https://www.huffpost.com/entry/mary-alice-career-black-hollywood_n_62e810f7e4b0d0ea9b79a233 Nichelle Nichols side Bill Russell https://aalbc.com/tc/profile/6477-richardmurray/?status=2004&type=status BlackWood https://aalbc.com/tc/profile/6477-richardmurray/?status=1981&type=status P.S. The NBA is white owned. The NBA didn't accept the HArlem Rens , who played in the now destroyed Renaissance Ballroom. They had a black owner. The Negro Leagues didn't have all black owners, but had many. The American + National leagues , all with white owners could join but couldn't join with Black owners. Ownership matters. Black people keep suggesting a white man has to look out for non white people in the ownership position. No a white man doesnn't

May your spirit fly high Nichelle Nichols Uhura LINK Uhura tuning Vulcan lute LINK Uhura singing beyond Antares LINK Bill Russell's spirit flew as well, the most honest Black basketball in media ever on coaching LINK on Black Youth LINK I PAraphrase Bill russell, use the link above to verify or read the whole"You have guys who have been pampered for 10-15 years. So you can't say this is an example. Or this is an average guy. Most athletes, my self included, are self centered. Maybe psychologically that is why we plays sports, but it is not normal. ... If i am going to go into Harlem, and go to a play ground and say to kids, if you work hard you can do the same thing I did, that would be a lie. That would be unfair to myself and unfair to the kids. I can say to the kids, do your best and fight it everyday. But to say I am an example of the greatness of the country, that is not true. If I am going to be honest to myself, I am an exception and have treated as an exception for years and years. The problem is I am only treated as an exception in certain areas. "

The Wild Seeds Writers Retreat for Writers of Color (formerly the North Country Institute & Retreat for Writers of Color), is a collaboration with the Center for Black Literature, the English Department at SUNY, Plattsburgh, and the Paden Institute and Retreat for Writers. It provides a writing community where established and emerging writers of color can focus on the craft of writing and create cross-cultural conversations around the literature created by writers of the African diaspora. Writing fellows have an opportunity to draw upon their experiences as writers in a racialized society; to become knowledgeable about the issues facing other writers of color; and to study with a professional in the genres of fiction, memoir, and poetry. Recognizing that the Writers Retreat should not be limited to a specific geographical region, the Center renamed the Retreat in honor of Octavia E. Butler, a speculative fiction writer known globally for blending science fiction with African American spiritualism. Butler's writing crossed many boundaries and represented varying diverse voices. The Goal The Retreat strives to provide writers of color with an opportunity to meet other writers; to workshop their writing among peers; and to engage with published writers about concerns and issues related to writing and publishing. Through its writing workshops leaders, the Retreat provides the public with an opportunity to become knowledgeable about the range and diversity of the work produced by writers of color. A Look Back The first Writers' Retreat, held in 2004, was highly successful and featured the internationally acclaimed poet Sonia Sanchez, author Tony Medina, and writer Indira Ganesan. Subsequent faculty workshop leaders have been nonfiction writer Patrice Gaines; poets Martin Espada, E. Ethelbert Miller, Aracelis Girmay, and Patricia Spears Jones; and writers Jeffery Renard Allen, Marita Golden, Victor LaValle, and Bernice McFadden, among many others. Typically, the Retreat alternates between the Valcour Educational and Conference Center in Plattsburgh, New York, and the campus of Medgar Evers College in Brooklyn, New York. Venues are subject to change. NEW LOCATION for SUMMER 2022 The new location for the Retreat will be determined soon. It will be a scenic location Upstate New York as in previous years. As of early April 2022, the summer retreat will no longer be held at SUNY, New Paltz (The State University of New York, New Paltz) as previously announced. Previous Poetry, Fiction, and Playwriting Workshop Leaders Jeffery Renard Allen Mo Beasley Martin Espada Patrice Gaines Indira Ganesan Aracelis Girmay Marita Golden Tonya Cherie Hegamin Donna Hill Major Jackson Sandra Jackson-Opoku Patricia Spears Jones Victor LaValle E. Ethelbert Miller Bernice McFadden Shaun Neblett Greg Pardlo Willie Perdomo Ernesto Quiñonez Sonia Sanchez Ravi Shankar PLEASE NOTE: Applications < https://centerforblackliterature.org/wp-content/uploads/2022/04/WSWR_AppSummer2022_REVISED11April.pdf > are available now. The deadline to apply is Monday, May 16, 2022. The cost of the Retreat is $600 and there is a one-time non-refundable $25 application fee. Scholarships are made available only when sponsorship gifts permit and are not necessarily applicable for each Retreat. Please direct inquiries to Director of Literary Programs Clarence V. Reynolds at reynolds@centerforblackliterature.org

Against Mythologizing the Practice of Writing from Amber Sparks I suppose I started writing because it was the easiest way to dump out my imagination and play with it. There were few costs and no barriers to entry, no special tools or equipment or collaborators needed. When I was little and bored, all I needed was a pencil and paper to sketch out an escape plan, another world in all its intricacies and details that I could fly to when I needed it. I could create the friends I lacked in real life on the page. I could pour all my negative feelings into some truly gnarly villains. It was easy, free, and completely satisfying, whether I was writing for five minutes or five hours. I had this easy, casual relationship with writing up through college, largely because I didn’t think of myself as a writer. I was an actor and a musician with a bunch of retail jobs; writing was something I just did for fun, not something I was. So nothing was attached to it, no identity, no expectations, no fanciness. I wrote in the car on vacations, in the breakroom at work, in my notebooks during classes. I wrote and wrote and wrote. But at some point after I started submitting and publishing stories in my late twenties, and met writers, read blogs, did workshops - I started to notice those expectations creeping in, a slow set of mythologies that started to grow in and around my writing practice. For the first time, I started thinking about writing as a deliberate practice, and not just as an almost automatic action. I think this happens to just about every writer at some point between writing for fun and writing for serious. I don’t mean the practice of editing your writing and looking at it with a critical eye - that most likely started when you were young, and obviously if you studied writing or edited a magazine or became a teacher, the practice of critically examining your own work deepened, which is a good thing. No, I’m talking about that other thing - the mythologies around what it means to be A WRITER, to practice and perform the act of writing itself. For example! Every few months, another of those “what my writing day is like” interviews with some famous writer starts circulating on social media, and it usually goes like this: “10 am, emerge lazily from my beautiful French country bedroom wearing a flowing robe that smells slightly of the sea; 11am, sharpen fourteen Blackwing pencils by hand while watching the foxes outside my window feed their young; noon, harvest the day’s honey from my hive of bees while thinking slightly about the characters in my next novel; 2pm, write my ass off; 5pm, drink a glass of port on the veranda while listening to the gentle saw sound of the cicadas and thinking about the impossibilities of life” etc etc. People unusually share these interviews with a screenshot and a comment reflecting wistfulness or jealousy or aspiration or all three. “ME SOMEDAY” or “THE DREAM,” they proclaim, harmlessly enough, while not realizing that these interviews are being woven into their own internal writing mythologies. A real writer lives in the country! Sharpens fresh pencils! Wakes at 10! Keeps bees! And these notions about what a writer is or should be, and what kind of idealized conditions create truly great writing, start subtly to grow around the writer, like stupid vines, and complicate entry into the once simple act of writing itself. Suddenly the writer who has written on their phone on the subway commute, the writer who scribbles on scraps of paper between diaper changes or shift changes - the writer who doesn’t have a practice of their own, or a room of their own, or even a desk of their own, and has never needed one, starts to feel a sense of inadequacy. They must not be a real writer, because they do not take to an isolated cabin for weeks at a time to write, or have a sacred office space with special writing music and office hours to boot. There’s nothing inherently wrong with interviews with very famous and established - usually financially secure - writers, about how they write. That stuff is interesting to know! We love to hear about what kind of pens or pencils or software or notebooks others use to get the job done. It’s fun to read. The real problem happens when early or mid-career writers start to internalize these practices and become aware of what they then perceive to be lacking. Because here’s the thing: most of those interviews are with writers who are older, who have already achieved outsized success, both professional and financial, whose children are grown and who are no longer caring for elderly parents. These same writers almost certainly did much of their own best and most urgent writing while working a day job or three, while raising kids, while riding the Metro and running errands, while living in tiny studio apartments in a crowded city. The way that most writers throughout time have written - through necessity, through poverty, through children crawling on their laps and demanding their attention, through whatever it takes to access that imaginative fire. I would gently suggest (and I tell myself this, everyday!) that these mythologies aren’t really about the practice of writing at all. These “how I write” pieces, for example, have almost nothing to do with being a writer, and the reasons they’re shared have very little to do with being a writer. They’re actually about the dream of being freed from economic anxiety and the wheel of capitalism, and from the various demands on us from our families and loved ones. They’re a dream of “being just a writer,” which is less a dream about writing than a dream about leisure. I see it everyday - despite almost no fiction writer making a living being “just a writer,” emerging writers and mid-career writers alike have made this unlikely reality their goal. It’s no different from planning on winning the lottery as a retirement goal. And I think it not only leads to disappointment and heartache - I think it also leads to less writing. And there comes a point, or at least, there certainly has for me, where you have to start hacking away at the thorny forest of your mythologies (sorry to torture this metaphor) and find the pencil and notebook and the five minutes inside that were all you once needed. That’s your enchanted shit, not the country house and the pencils and the kudzu. It’s not a lesson to be learned just once, either. It’s a lifelong struggle, I’ve found. As a writer, I constantly fight the feeling of “if only,” feeling I could be a brilliant writer if only I had more time, more space, a real desk, a retreat in the woods. I realized, when talking about my last book in interviews, that I wrote most of it on my phone on commutes and very late at night, when my baby was asleep and I was wide awake. I had that fire in me then, and it blazed its way onto the metaphorical page despite my lack of time, or sleep, or solitude. It was the closest I had been in a long time to that deep mystery, that almost primal urge to tell stories that writers seem to be born with. The ur of writing, to be an asshole about it. This last year and a half, we’ve all had plenty of opportunity to experience the frustrations of not-writing, as family obligations increased or loneliness encroached, as escapes (even just to coffee shops) became impossible, as illness and sadness and anxiety stood guard at the door, and our writing practice narrowed to very small windows in time and space. For most of us, the dream went from “spend all my time writing” to “ spend any of my time writing,” and a lot of us lost a year plus of our practice entirely. I’m not going to spin the pandemic as positive in any way - fuck that - but I do think after emerging from the worst of it here in the US, my expectations for what it means to be a writer have changed. I had a disappointing experience last weekend, with a weekend writing retreat I had planned for myself cancelled unexpectedly. I found myself instead where I have been all pandemic, in my apartment bedroom, my child running in and out, writing on a lap desk on my bed. But somehow, I got on with the writing, and somehow, that old feeling, that love of story, that sense of following my characters into the rabbit hole and getting lost with them - it all came back to me and I was no different than me at six or me at sixteen, not being a writer or a Writer, but just spending the time I could with an imaginary world I made. Which is pretty much all I’ve ever wanted to do. https://ambersparks.substack.com/p/against-mythologizing-the-practice?utm_source=Sailthru&utm_medium=email&utm_campaign=Lit%20Hub%20Daily:%20June%2011%2C%202021&utm_term=lithub_master_list