"Los Sures is tough..but Los Sures is Love"
In the early 1980s, Diego Echeverría took a 16mm camera into the streets of Southside Williamsburg, then a primarily Puerto Rican neighborhood and one of the city’s poorest, most crime-ridden areas. Still, amidst the urban blight, Echeverría finds a thriving street culture in which music, breakdancing, and graffiti abound.
Los Sures skillfully represents the challenges residents of the Southside faced in the early 80s before gentrification.
A movement emerged that sought to restore the film and expand it, creating an interactive documentary, following the subjects of the original film and where they are now.
Experience the project at http://lossur.es/
"When people of color have little to no say at the writing table, we get damaging, unimaginative tropes."
This video essay by Slate takes a close look at these tropes, examining the need for writers of color in television in order to have real, well-rounded characters of color, rather than one dimensional stereotypes and caricatures.
Instead of looking to fill a diversity quota, creators should normalize an equal representation of American society.
Brazil is entering a period of political and economic crisis, and Rio's new middle class finds itself torn between conservative and populist street protest movements. From this context emerge "Rich Batman" (Eron Morais) and "Poor Batman" (Carlos Medeiros), two men who dress up as different versions of the comic book hero, Batman as a way to bring awareness to their political causes. Along with his left-wing compatriots, Poor Batman is adrift in the political currents following harsh repression from Rio’s militarized police forces, while Rich Batman found a new home among the conservative protesters, lending his celebrity and voice to their calls of impeachment.
In this New York Times Op-Doc, retired police officers reflect on policing and race, giving a myriad of perspectives on race in America.
"It's the responsibility of the white community, it's the responsibility of our leaders to realize Black people are not shouting 'racism, and discrimination, and exploitation for no reason, they're not marching or protesting because they have nothing better to do. Their problems are real."
These are important conversations that need to happen more often, face to face, regardless of how uncomfortable it may be.
Jorge Ramos sits down with Glenn Greenwald, founder of The Intercept, to talk about Brazil, the Panama Papers and the FBI's battle with Apple over phone encryption.
An interesting conversation emerges on questions regarding the notion of "neutrality" in journalism in opposition to standing up for injustices, specifically in regards to the American political process in the era of Trump.