"It’s one of my theories that when people give you advice, they’re really just talking to themselves in the past."
If you’re poor, the only way you’re likely to injure someone is the old traditional way: artisanal violence, we could call it – by hands, by knife, by club, or maybe modern hands-on violence, by gun or by car.
But if you’re tremendously wealthy, you can practice industrial-scale violence without any manual labor on your own part. You can, say, build a sweatshop factory that will collapse in Bangladesh and kill more people than any hands-on mass murderer ever did, or you can calculate risk and benefit about putting poisons or unsafe machines into the world, as manufacturers do every day. If you’re the leader of a country, you can declare war and kill by the hundreds of thousands or millions. And the nuclear superpowers – the US and Russia – still hold the option of destroying quite a lot of life on Earth.
So do the carbon barons. But when we talk about violence, we almost always talk about violence from below, not above.
ART FEATURE: A series of women at rest, as created by Moroccan artist Lalla Essaydi.
Whether through conquest or colonisation, Arabic culture has permeated many parts of the African continent, both influencing and often times erasing parts of the local culture.
With Arabic being one of the most spoken languages in Africa, over centuries facets of Arabic culture have been featured in works by African artists - from music and song, to visual representations such as clothing styles and paintings.
Moroccan artist Lalla Essyadi is a contemporary artists whose works illustrate these charateristics. Her work often carries and addresses multiple themes of (at times constrasting but related) dualities - past and present, local versus foreign, and modern takes on traditional man-woman gender roles.
In this series, Essyadi makes use of elements of Orientalist imagery and Arabic script - written in calligraphic form and applied with henna - to challenge and re-contextualize notions of exoticism and gender, creating a highly personal feminine space where the woman’s autonomy is established through the reclaiming of her agency.
Where Orientalist art informs the format and paradigms on which she models most of her art, the incorporation of calligraphy written in Arabic - a role usually reserved for men in Arabic culture, and the use of henna - a temporary natural dye used mainly for aesthetic purposes by women in parts of Africa and Asia, Essaydi merges two areas of Arabic culture where gender plays a central role in their social application, in order to create a new and sacred private feminine space.
I heard that T'Challa was the one who designed Sam Wilson's red wings in the comics. Can you share more about that?
#everything about this is cute
It’s true! Back in the pages of Captain America #169, Sam got beat up one too many times and decided something had to change. Running around with a super-soldier put him in situations that were too much for a “costumed athlete.”
As Cap had been friends with the Black Panther for some time at that point, Sam had heard stories about Wakanda and its technological wonders. So he asked Steve if he could ask him for some help. T’Challa happily obliged and showed up the next morning to take him to Wakanda.
After spending some time exploring T’Challa’s lab, he and Sam go over some ideas about how to “match and complement” Cap’s abilities.
Word of trouble involving Sam’s girlfriend reaches T’Challa and as he goes to tell Sam, we see what they came up with for the first time!
The two have worked together many times since, sometimes with Cap involved and sometimes not. We’ll cover more about that soon so stick around!
-We Are Wakanda