School administrators in a community outside of Boston, Massachusetts, offered an apology after a photo appearing to show a young Black girl held on a leash by two white students, swept the internet. The photo shows an instructor along with two white students and one black student decked out in 17th-century attire, while the two white students held a leash attached to the young Black girl kneeling on the floor. A Bridgewater classroom photo shows two white third-graders holding a black child by a leash. https://t.co/KSsPBEVYru pic.twitter.com/ZPhg8frVJJ — The Boston Globe (@BostonGlobe) October 20, 2017 The third-grade classroom’s teacher shared the photo with her student’s parents, but outraged ensued once the photo was shared to Facebook, prompting complaints from parents. According to The Boston Globe , the photo was taken during an October 13 class discussion when a member of the Plimoth Plantation historical museum visited the class for a history lesson. Bridgewater is a small town located 32 miles south of Boston, Massachusetts. In an email obtained by The Globe, Derek Swenson , superintendent of the Bridgewater-Raynham Regional School District, apologized for the optics but went into great detail to give the photo context. School officials would not go into specific details or name the involved parties in order to protect the minors involved. “Through our investigation, it was explained by the director of education from Plimoth Plantation that a portion of the lesson focused on 17th century attire — particularly the garments worn by parents, children, toddlers, and infants,” he said. “Specifically the garment worn by toddlers commonly used tethering straps to assist them when learning to walk.” Rob Kluim, the museum’s spokesperson, also apologized for the photo in a statement to The Globe. He explained the students and instructor were depicting a 17th Century family, mother and her three children, with one of the children wearing a garment with leading strings. “We are deeply saddened by this, as our museum’s educational mission is to provide fun and engaging encounters with the history of the 17th-century Atlantic world,” Kluim said. SOURCE: The Boston Globe DON’T MISS: John Kelly Lashes Out At ‘This Woman’ Frederica Wilson For Revealing Trump’s Fallen Soldier Phone Call Mississippi School To Swap Confederate Leader’s Name For Barack Obama’s [ione_media_gallery src=”https://hellobeautiful.com” id=”2962619″ overlay=”true”]
School administrators in a community outside of Boston, Massachusetts, offered an apology after a photo appearing to show a young Black girl held on a leash by two white students, swept the internet. The photo shows an instructor along with two white students and one black student decked out in 17th-century attire, while the two white students held a leash attached to the young Black girl kneeling on the floor. A Bridgewater classroom photo shows two white third-graders holding a black child by a leash. https://t.co/KSsPBEVYru pic.twitter.com/ZPhg8frVJJ — The Boston Globe (@BostonGlobe) October 20, 2017 The third-grade classroom’s teacher shared the photo with her student’s parents, but outraged ensued once the photo was shared to Facebook, prompting complaints from parents. According to The Boston Globe , the photo was taken during an October 13 class discussion when a member of the Plimoth Plantation historical museum visited the class for a history lesson. Bridgewater is a small town located 32 miles south of Boston, Massachusetts. In an email obtained by The Globe, Derek Swenson , superintendent of the Bridgewater-Raynham Regional School District, apologized for the optics but went into great detail to give the photo context. School officials would not go into specific details or name the involved parties in order to protect the minors involved. “Through our investigation, it was explained by the director of education from Plimoth Plantation that a portion of the lesson focused on 17th century attire — particularly the garments worn by parents, children, toddlers, and infants,” he said. “Specifically the garment worn by toddlers commonly used tethering straps to assist them when learning to walk.” Rob Kluim, the museum’s spokesperson, also apologized for the photo in a statement to The Globe. He explained the students and instructor were depicting a 17th Century family, mother and her three children, with one of the children wearing a garment with leading strings. “We are deeply saddened by this, as our museum’s educational mission is to provide fun and engaging encounters with the history of the 17th-century Atlantic world,” Kluim said. SOURCE: The Boston Globe DON’T MISS: John Kelly Lashes Out At ‘This Woman’ Frederica Wilson For Revealing Trump’s Fallen Soldier Phone Call Mississippi School To Swap Confederate Leader’s Name For Barack Obama’s [ione_media_gallery src=”https://hellobeautiful.com” id=”2962619″ overlay=”true”]
(Jason Mitchell, director Dee Rees, Rob Morgan, Carey Mulligan, Mary J. Blige and Garrett Hedlund attend the ‘Mudbound’ Premiere on day 3 of the 2017 Sundance Film Festival at Eccles Center Theatre on January 21, 2017 in Park City, Utah. Source: Nicholas Hunt / Getty) Writer/director Dee Rees has been anything but predictable. She became a household name in 2011 with her first feature-length film Pariah , a gutting coming-of-age narrative about a young woman grappling with her sexuality. Then she turned around and took the small screen by storm with the triumphant story of iconic blues singer Bessie Smith in Bessie —which racked up more than one million viewers in its premiere. She even managed to helm a few documentary films and grace the director’s chair of the hit FOX series Empire in between projects. But even though her projects run the gamut, there is one recognizable theme that connects each of them, something we rarely see from other filmmakers. Rees boldly dismantles our most uncomfortable truths and interrogates why they remain hidden. Her latest drama, Mudbound , is no different. Set along an indistinct American South after World War II, the movie tells the story of a black family and a white family, whose disparate vantage points illuminate a racist society that has affected them both in deeply profound ways. They’re given equal agency and layers, and are written with the same level of compassion that seeps through each of the performances. So much so that the question is no longer about who is oppressed and who is the oppressor. It presents a more complex narrative that explores the effects of war across racial lines—through these two families whose steadfast hope is destroyed once they’re shown how little their world has changed when their loved ones return from battle and are unable to navigate the harsh realities they once could. The story opens with the McAllan family, Laura (Carey Mulligan) and Henry (Jason Clarke), a young couple who have recently arrived from Memphis with dreams of more land and a better life for his growing family. But as soon as they get there, with his spiteful father Pappy (Jonathan Banks) in tow, both husband and wife learn that they haven’t moved any further away from struggle. They have to get the house out of the clutches of the swindler they bought it from; their once promising land is actually infertile; and Laura is stuck in a house with a dutiful yet loveless man and his oppressive father. They can only anticipate that the return of Henry’s brother, Jamie (Garrett Hedlund), and the conclusion of the war, will help them realize a new reality for themselves. Just miles down the road is the Jackson family, headed by Florence and Hap (Mary J. Blige and Rob Morgan). They’re sharecroppers on the McAllan land who become the white family’s natural default for any extra support they need—for the land or otherwise. Florence takes care of the little McAllan kids when they get whopping cough. Hap has to help out with labor on the land. And their young boys are often beckoned for additional sets of hands. But they have their own aspirations to consider, keeping a happy home in the midst of racial hierarchal, buying their own property, and paving the way for their children to have a freer life than they have. Inversely from the McAllans, their struggle is dictated by everything and everyone around them, and their home is filled with joy and the security of love. So when their oldest son Ronsel (Jason Mitchell) goes off to fight in the war, they are comforted by the hope they’ve instilled in his heart, and that he’ll come back to a more possible future for himself. The core of the film is what happens when both men return home to a society that has remained remarkably stagnant, and try to navigate the overwhelming desire to be the face of change in a world that wants anything but. Rees, along with the heartbreaking performances of Hedlund and Mitchell, delivers a searing portrayal of post-traumatic stress in a society that failed (and still fails) to acknowledge. The sleepless nights, the alarming recognition that despite the lives they saw wasted on the battlefield—their own just merely escaping—they are still an N-word and a white drifter; a man who can’t even walk through the front door of an establishment without putting his life at risk and the other who tries to drink the memories of war out of his mind every day. Rarely in the black community do we see images of mental health, and even more rarely do we see it in male characters, who are more often portrayed like Hap—who’d rather walk around on a broken leg than have his wife take his place out in the field. It’s the film’s audacity to portray black male vulnerability especially in a historical context that admonished it which makes Mudbound that much more impactful. That and how director/co-writer Rees refuses to back down on present either family’s narrative as a deficit to the other—despite how easy it would have been to do so. Compelling, heartbreaking, and bold, Mudbound is an absolute must-see. DON’T MISS: ‘The Real’ Host Jeannie Mai Is Divorcing Her Husband Mississippi School To Swap Confederate Leader’s Name For Barack Obama’s Did Wendy Williams Fire Staff Who Leaked Cheating Rumors About Her Husband?
(Jason Mitchell, director Dee Rees, Rob Morgan, Carey Mulligan, Mary J. Blige and Garrett Hedlund attend the ‘Mudbound’ Premiere on day 3 of the 2017 Sundance Film Festival at Eccles Center Theatre on January 21, 2017 in Park City, Utah. Source: Nicholas Hunt / Getty) Writer/director Dee Rees has been anything but predictable. She became a household name in 2011 with her first feature-length film Pariah , a gutting coming-of-age narrative about a young woman grappling with her sexuality. Then she turned around and took the small screen by storm with the triumphant story of iconic blues singer Bessie Smith in Bessie —which racked up more than one million viewers in its premiere. She even managed to helm a few documentary films and grace the director’s chair of the hit FOX series Empire in between projects. But even though her projects run the gamut, there is one recognizable theme that connects each of them, something we rarely see from other filmmakers. Rees boldly dismantles our most uncomfortable truths and interrogates why they remain hidden. Her latest drama, Mudbound , is no different. Set along an indistinct American South after World War II, the movie tells the story of a black family and a white family, whose disparate vantage points illuminate a racist society that has affected them both in deeply profound ways. They’re given equal agency and layers, and are written with the same level of compassion that seeps through each of the performances. So much so that the question is no longer about who is oppressed and who is the oppressor. It presents a more complex narrative that explores the effects of war across racial lines—through these two families whose steadfast hope is destroyed once they’re shown how little their world has changed when their loved ones return from battle and are unable to navigate the harsh realities they once could. The story opens with the McAllan family, Laura (Carey Mulligan) and Henry (Jason Clarke), a young couple who have recently arrived from Memphis with dreams of more land and a better life for his growing family. But as soon as they get there, with his spiteful father Pappy (Jonathan Banks) in tow, both husband and wife learn that they haven’t moved any further away from struggle. They have to get the house out of the clutches of the swindler they bought it from; their once promising land is actually infertile; and Laura is stuck in a house with a dutiful yet loveless man and his oppressive father. They can only anticipate that the return of Henry’s brother, Jamie (Garrett Hedlund), and the conclusion of the war, will help them realize a new reality for themselves. Just miles down the road is the Jackson family, headed by Florence and Hap (Mary J. Blige and Rob Morgan). They’re sharecroppers on the McAllan land who become the white family’s natural default for any extra support they need—for the land or otherwise. Florence takes care of the little McAllan kids when they get whopping cough. Hap has to help out with labor on the land. And their young boys are often beckoned for additional sets of hands. But they have their own aspirations to consider, keeping a happy home in the midst of racial hierarchal, buying their own property, and paving the way for their children to have a freer life than they have. Inversely from the McAllans, their struggle is dictated by everything and everyone around them, and their home is filled with joy and the security of love. So when their oldest son Ronsel (Jason Mitchell) goes off to fight in the war, they are comforted by the hope they’ve instilled in his heart, and that he’ll come back to a more possible future for himself. The core of the film is what happens when both men return home to a society that has remained remarkably stagnant, and try to navigate the overwhelming desire to be the face of change in a world that wants anything but. Rees, along with the heartbreaking performances of Hedlund and Mitchell, delivers a searing portrayal of post-traumatic stress in a society that failed (and still fails) to acknowledge. The sleepless nights, the alarming recognition that despite the lives they saw wasted on the battlefield—their own just merely escaping—they are still an N-word and a white drifter; a man who can’t even walk through the front door of an establishment without putting his life at risk and the other who tries to drink the memories of war out of his mind every day. Rarely in the black community do we see images of mental health, and even more rarely do we see it in male characters, who are more often portrayed like Hap—who’d rather walk around on a broken leg than have his wife take his place out in the field. It’s the film’s audacity to portray black male vulnerability especially in a historical context that admonished it which makes Mudbound that much more impactful. That and how director/co-writer Rees refuses to back down on present either family’s narrative as a deficit to the other—despite how easy it would have been to do so. Compelling, heartbreaking, and bold, Mudbound is an absolute must-see. DON’T MISS: ‘The Real’ Host Jeannie Mai Is Divorcing Her Husband Mississippi School To Swap Confederate Leader’s Name For Barack Obama’s Did Wendy Williams Fire Staff Who Leaked Cheating Rumors About Her Husband?
(I Ringo Chiu / ZUMA Press / Splash NewsmageCatcher News Service/Corbis via Getty Images) George W. Bush Cares About Black People Now, Speaks Out About Bigotry Under Trump If you haven’t heard about Former President George W. Bush handed Trump his a** today without once mentioning his name during a speech about the state of American democracy delivered at the George W. Bush Institute’s “The Spirit of Liberty: At Home, in the World,” a national forum in NYC. Check out some highlights below: “Bigotry seems emboldened. Our politics seems more vulnerable to conspiracy theories,” Pres. George W. Bush says https://t.co/NLabGgXQcG pic.twitter.com/JX9HVbBire — CBS News (@CBSNews) October 19, 2017 Parts of Europe, Bush said, have developed an “identity crisis” as a result of economic stagnation, youth unemployment and fears about immigration. “America is not immune from these trends,” warned Bush, who noted that public confidence in U.S. institutions has declined in recent decades and discontent has “deepened and sharpened” partisan conflicts. “Bigotry seems emboldened. Our politics seems more vulnerable to conspiracy theories,” he said. “We’ve seen nationalism distorted into nativism.” Bush warned that the U.S. faces the return of isolationist ideology even though he said that American security is “directly threatened by the chaos and despair” of other nations around the world. “Bullying and prejudice in our public life sets a national tone,” said Bush, who added that it “provides permission for cruelty and bigotry.” Folks on the right are Big MAD I stood up for George W. Bush in the face of horrendous attacks and never questioned his motives even when he did things I didn't necessarily agree with. He paid me back today by calling me a racist. George, you are Fredo to me. I don't want to know you, or what you do.
(I Ringo Chiu / ZUMA Press / Splash NewsmageCatcher News Service/Corbis via Getty Images) George W. Bush Cares About Black People Now, Speaks Out About Bigotry Under Trump If you haven’t heard about Former President George W. Bush handed Trump his a** today without once mentioning his name during a speech about the state of American democracy delivered at the George W. Bush Institute’s “The Spirit of Liberty: At Home, in the World,” a national forum in NYC. Check out some highlights below: “Bigotry seems emboldened. Our politics seems more vulnerable to conspiracy theories,” Pres. George W. Bush says https://t.co/NLabGgXQcG pic.twitter.com/JX9HVbBire — CBS News (@CBSNews) October 19, 2017 Parts of Europe, Bush said, have developed an “identity crisis” as a result of economic stagnation, youth unemployment and fears about immigration. “America is not immune from these trends,” warned Bush, who noted that public confidence in U.S. institutions has declined in recent decades and discontent has “deepened and sharpened” partisan conflicts. “Bigotry seems emboldened. Our politics seems more vulnerable to conspiracy theories,” he said. “We’ve seen nationalism distorted into nativism.” Bush warned that the U.S. faces the return of isolationist ideology even though he said that American security is “directly threatened by the chaos and despair” of other nations around the world. “Bullying and prejudice in our public life sets a national tone,” said Bush, who added that it “provides permission for cruelty and bigotry.” Folks on the right are Big MAD I stood up for George W. Bush in the face of horrendous attacks and never questioned his motives even when he did things I didn't necessarily agree with. He paid me back today by calling me a racist. George, you are Fredo to me. I don't want to know you, or what you do.
(Photo by Ray Tamarra/Getty Images) The Baes Of Black Panther While most of the internet was focused on Michael B. Jordan’s poon-smashing man pecs yesterday when the show’s second trailer dropped, we noticed the baelicious cast. Black Panther is full of gorgeous black women and it’s a major reason we can’t wait to see the movie. So take a look at the melaniny baes scoring their ways to theaters.
Marvel Comics released the second trailer for the “Black Panther” movie just in time to shake up your mundane Monday. The trailer shows the cast in all of their Black glory, fighting in intense battle scenes laced with epic visual effects. Stars Chadwick Boseman , Michael B. Jordan , Lupita Nyong’o , Danai Gurira, Forest Whitake r and Angela Bassett are the regal royalty of the fictionalized country of Wakanda. Twitter of course lost its collective mind AGAIN when the trailer went viral. Don’t judge me when I show up to February with this hairdo #BlackPanther pic.twitter.com/fbJfV2d6Rf — Robin Thede (@robinthede) October 16, 2017 King Coogler has not come to play with you. He's come to put in work. And change the same old game. #BlackPanther pic.twitter.com/spaxIUxUQ5 — Ava DuVernay (@ava) October 16, 2017 This is the hottest most badass thing ever #BlackPanther pic.twitter.com/yZNQkTwcpX — extrala (@sliickslack) October 16, 2017 Black Twitter making plans for February 16, 2018. #BlackPanther pic.twitter.com/kmd5Gxkppq — P'Challa MacKenzie (@pfunk1130) October 16, 2017 #BlackTwitter alerting friends to the new #BlackPanther trailer pic.twitter.com/CpVGXG4hH9 — Maria De Los Muertos (@Maria_Giesela) October 16, 2017 All of Twitter right now after seeing the #BlackPanther trailer pic.twitter.com/N432aYhldB — Black Girl Nerds (@BlackGirlNerds) October 16, 2017 You going to see #BlackPanther ? First of all, don’t talk to me while the preview is on. https://t.co/hZ9ArwYU8a — Clumsy King
A truck bomb that exploded in Somalia has left more than 300 dead and hundreds more seriously injured, becoming “one of the most lethal terrorist acts anywhere in the world for many years,” according to The Guardian . The death toll was expected to become higher since people were still missing, Abdikadir Abdirahman , director of Amin ambulances, said. “One hundred and sixty of the bodies could not be recognised and so they were buried by the government [on Sunday],” Aden Nur , a Madina hospital doctor, said. “The others were buried by their relatives. Over a hundred injured were also brought here.” The U.S. mission to Somalia stated “such cowardly attacks reinvigorate the commitment of the United States to assist our Somali and African Union partners to combat the scourge of terrorism.” Somalia Explosion: • At least 231 people killed • At least 275 people injured • Truck bomb exploded in Mogadishu https://t.co/DX13sCzWMt pic.twitter.com/23dYcjatfS — BuzzFeed News (@BuzzFeedNews) October 15, 2017 I n a full-page ad that appeared in Sunday’s edition of The Washington Post , Hustler publisher Larry Flynt says he’ll pay $10 million to anyone who can provide information leading to the impeachment of 45 . “Did he make some financial quid pro quo with the Russians?” the ad asks. “Has the business of the United States been compromised to protect the business of the Trump empire? We need to flush everything out into the open.” Like many of us, Flynt is tired, and he wants to see the president finally face consequences for “compromising domestic and foreign policy with his massive conflicts-of-interest global business empire,” “telling hundreds of bald-faced lies,” and exercising “gross nepotism” via the “appointment of unqualified persons to high office.” “Impeachment would be a messy, contentious affair, but the alternative — three more years of destabilizing dysfunction — is worse,” Flynt concluded. “ . . . I feel it is my patriotic duty, and the duty of all Americans, to dump Trump before it’s too late.” So I decided to do this…let's see what happens. pic.twitter.com/Xpy4qrwHU7 — Larry Flynt (@ImLarryFlynt) October 15, 2017 Have dirt that could impeach President Trump? Hustler publisher Larry Flynt says he'll pay you $10 million. https://t.co/JyYFCoelDb — Washington Post (@washingtonpost) October 14, 2017 SEE ALSO: Why The Question Of Trump’s Mental Fitness May Be Better Than Impeachment Congressional Black Caucus May Call For Trump Impeachment [ione_media_gallery src=”https://newsone.com” id=”3585930″ overlay=”true”]
