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In a world full of cookie-cutter advertisements, Benetton campaigns always stood out from the rest. The brand went beyond the conventional, whether it be the communication, casting or execution. Their campaigns polarized the conservative minds and the free thinkers alike.

While some of the campaigns were banned outright, others went ahead to bag prestigious awards and recognitions.

Benetton ads have always been about the people - cheering, happy faces of all ethnicities - posing in colorful Benetton clothing. Thequintessential Benetton aesthetic was doused with a healthy dose of social awareness.

The real twist, however, came in 1982 when Oliviero Tuscani - a prominent fashion and advertising photographer - joined the Benetton group as a Creative Director. But it was not until 1989 that the ads began dealing with sensitive racial themes in a way that attracted criticism. The campaigns that came under Tuscani's visionary leadership were path-breaking, not only because of their provoking imagery, but also for the fact that Benetton pioneered the concept of product-less advertising.

Let's take a look at the campaigns that took the world by storm:-

When you first look at this ad, you see the message of racial equality loud and clear. Upon a further look, you see the two girls are actually in a relationship, signaling that the brand embraces homosexuality.

Then comes the adopted child of a different ethnicity. It truly is an unconventional portrayal of a family. The campaign was a real head-turner, as it was launched at the time when homophobia was still prevalent and inter-racial marriages were looked down upon.

This campaign featured a newborn baby smeared in blood, with his umbilical cord still intact. Childbirth is as brutal as it gets. Intended as an "anthem to life", this campaign celebrates life through the imagery of life's violent beginning.

The ad sparked protests in Palermo, Italy, where the town council decided to take the ads down. Magazines like Cosmopolitan, Elle, and others refused to run the ad. The British Advertising Standards Authority was flooded with more than 800 letters of complaint.

Benetton finally caved in and apologized.

Dealing with the theme of religion, the campaign ironically features the priest and a nun passionately sharing a kiss. The visual challenges the principles of religious celibacy and goes against the sacred vows pronounced by men and women who enter religious orders.

In Italy, the public felt deeply offended; and bowing to the pressure from the Vatican, the ad was finally banned by the Italian Advertising Authority. The French authorities also demanded the withdrawal of the posters. The offense was such that one-third of the magazines who were contacted refused to run the ad.

This picture of David Kirby was taken in 1990 when he was lying in a hospital, with his family grieving around him. Originally taken by Therese Frare, the picture quickly became a powerful symbol for the epidemic that had ravaged millions around the globe.

At the time, discourse on AIDS was still a taboo due to the stigma attached to the disease.In their defense, Benetton said they were raising awareness on the issue, but the brand was accused of using a man's suffering as a commodity to sell their products.

Many gay rights activists in the Europe took to the streets calling for the brand boycott.

In 1982, a photographer named Franco Zecchi captured the killing of an Italian mafia. The dead body lies with a pool of blood, while the grieving wife stares into abyss.

Ten years later, Benetton featured the image in its spring/summer 1992 campaign. As expected, the visual flared up the controversy and many publications refused to run the ad.

The dead man's daughter claimed she would sue the brand, asking: "How does my father's death enter into publicity for sweaters?"

This 1993 campaign created an uproar, as the discourse on AIDS was still absent in the mainstream media and those who were suffering were largely discriminated.

Benetton strived to start a conversation around the stigma but it backfired. The French Agency for the Fight against AIDS (AFLS) and the National AIDS Council went ahead to protest against the campaign.

The company was fined for $32,000 by the French court who labelled the campaign intrusive and exploitive for using such offensive imagery that further stigmatize HIV positive people.

The 1994 campaign took the shock value to its extreme. The ad shows the uniform of a fallen Bosnian soldier during the Bosnian war of 1992-1995, completed with blood gore and bullet holes.

The campaign was supposed to be an anti-war effort, bringing the public's attention towards war crimes and human rights violations during the war. But the timing of the campaign seemed troubling to some, as the war was still ongoing and making headlines across the U.S and Europe.

As expected, many human rights groups attacked the ad and deemed it insensitive. The campaign also created a huge cry in Bosnia's enemy state Croatia, which blamed Benetton for not respecting its national integrity.

With the dawn of the millennium came the most controversial work from Benetton - even from their own standards.

The right to life shall be guaranteed to all. The brand, believing in its philosophy took a pro-life stance, casting 26 inmates from different states of the U.S. The campaign took two years to finish and cost Benetton $10 million.

It was later revealed that the brand did not have the legal permission and the authorities were misled to get access to the inmates. The state of Missouri even decided to sue Benetton, claiming that the company had deceived the state by using the death row inmates as part of an ad campaign.

The subsequent boycott led by Chicago retail giant Sears cost the company millions of dollars in the revenue loss.

The storm momentarily calmed when Oliviero Toscani was fired after his 18 year long stint.

Perhaps the most influential campaign since Toscani's departure, Benetton's new worldwide communication invited leaders and citizens of the world to combat the "culture of hatred".

The UNHATE campaign was created with the aim of promoting closeness between the people of diverse faiths and culture, and the peaceful understanding of each other's motivations.

The ad featuring Pope Benedict XVI and Imam Sheik Ahmed el-Tayeb garnered such extreme criticism that it had to be pulled out within a few hours of the launch. Vatican spokesman Father Federico Lombardi described it as showing "a grave lack of respect for the Pope, an offence to the feelings of believers, a clear demonstration of how publicity can violate the basic rules of respect for people". The church even considered legal action against the brand.

Despite all the ruckus, the campaign bagged various advertising accolades over the coming years, including the Press Grand Prix at Cannes Lions 2012.

To say that Benetton used shock value just to sell their products would be an understatement. No brand is able to carry ideas across the cultures better than Benetton does, demonstrating the ability of opening pertinent debates, raising attention to the issues that are otherwise subconsciously ignored.

In the words of Luciano Benetton "communication should never be commissioned from outside the company, but conceived from within its heart", while Oliviero Toscani believed that "just advertising a product is a waste of communication."

Brands like Benetton are willing to take the risk of being hated on scale and this is what sets them apart from the mainstream clutter. Through their campaigns, Benetton addresses individuals rather than customers. They target their audience not only based on gender, age or income, but also on a shared values and vision.

After all, the 'United' in UCB stands true to its meaning - uniting everyone across all the spectrums of gender, creed and color for a just cause.

Though, the brand has done their fare share of mistakes in the campaign execution. For example, they could've setup a charity for Bosnian war victims and HIV positive people, with a call to action urging their audience to donate. Or even better, a part of their sales could've been donated to a noble cause with a call to action like "For every 1 Benetton sweater brought, we donate 10% to the cause."

For the death row campaign, the brand kept authorities in the dark to get access to the convicts. While for the UNHATE, they used pictures of the world leaders without their permission, showing them doing something they did not do, through morphed pictures. Hence both legal and moral issues were raised and the brand was accused of subverting the truth in advertising.

Even after all the negative press, Benetton campaigns had an universal impact. The brand captured the public attention and succeeded in driving the conversation on the social issues, proving the sustainability of its advertising concept.

When their series of controversial campaigns began, Benetton earned a revenue of $1.79 billion in 1990- up 24% from 1989 - and a gross profit margin of 36%. The company's stock was listed on five international exchanges. Surprisingly, the ad budget was a mere $78 million worldwide.

The UNHATE campaign in 2011 also had a significant impact, reaching a total of 500 million users worldwide, more than 3000 articles and 600 TV reports in 60 nations as traditional media reactions. The brand became the top Twitter trend and Google search topic for weeks and generated an increase of 60% in the number of fans on the brand's Facebook page.

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How Benetton Mastered the Art of Going Viral Through Causevertising

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In a world full of cookie-cutter advertisements, Benetton campaigns always stood out from the rest. The brand went beyond the conventional, whether it be the communication, casting or execution. Their campaigns polarized the conservative minds and the free thinkers alike. While some of the campaigns were banned outright, others went ahead to bag prestigious awards and recognitions.

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Getty Images photographer John Moore has been covering events at the US/Mexico border for more than ten years. In spring 2018, selections from this large body of work were published in an award-winning book about the subject, Undocumented. It is a photograph taken a few months after the book’s publication, however, that has become the defining image of the photographer’s ongoing border reportage.

The photograph, seen below, shows the moment when a two-year-old Honduran girl and her mother are taken into custody after illegally crossing the border from Mexico into Texas. It was captured at the height of political and cultural tensions surrounding the Trump Administration policy of family separations and quickly made front page news around the world.

On April 11, 2019, the photograph was announced as the World Press Photo of The Year 2019 at a ceremony in Amsterdam. Photojournalists recognize the prize as the world’s most influential and important honor; John’s image was selected from more than 78,000 submissions.

As the official gallery for Getty Images staff photographers, we are proud to offer collectors and collecting institutions the opportunity to acquire this difficult but important work. Signed, small-run limited edition prints are available in three sizes. Please enquire for further details.

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John Moore’s 2019 World Press Photo of the Year fine art photography | Fine Art Prints

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Getty Images photographer John Moore has been covering events at the US/Mexico border for more than ten years...

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August 19, 2021

Afghanistan's first female street artist depicts Afghan women as they face renewed Taliban threats. Despite the danger, she pursues her work of resistance.

Shamsia Hassani is Afghanistan's first female street and graffiti artist (photo from 2020)

Shamsia Hassani had already reached a certain level of international success over the past years. As Afghanistan's first female graffiti and street artist, known for her bold promotion of women's voices, she had traveled to do on-site murals and participate in residencies and gallery exhibitions in numerous North American, European and Asian countries.

She landed on Foreign Policy's 2014 top 100 global thinkers list and was included in the second volume of Goodnight Stories for Rebel Girls, a best-selling collection of portraits of game-changing women from around the world.

This past week, as the Taliban took power in one Afghan province after another, eventually capturing Kabul, Hassani's presence on social media found even greater resonance.

Two powerful images showing girls in radiant blue carrying images of hope as dark, menacing gun-toting fighters loom over them - expressions of the extreme fear, despair and violent repression Afghan women now face - earned tens of thousands of likes on Instagram and were shared thousands of times on Facebook.

Hundreds of followers commented in response, concerned and praying for the women of Afghanistan and for the Kabul-based Hassani's safety.

Over the past week, women have largely avoided the capital's public spaces, and many artists have deleted chat messages and social media accounts, fearful of violent, potentially fatal repercussions by the Taliban.

After Kabul's takeover by the Taliban, Hassani's social media accounts went silent for a few days, leaving fans wondering about her safety.

A new image in her recent series was finally published late on Tuesday, entitled Death to Darkness - confirmation that she was continuing to work and give voice to the experience of Afghan women.

Hassani's manager told DW that the artist was not available for an interview but was in a safe, undisclosed location.

Female artists under double threat

Publishing the images is a bold move. Most analysts and human rights activists believe the Taliban will institute draconian restrictions and deadly punishments for women, as they did during their rule in the 90s.

Female artists face a doubly dangerous position as women and as creatives doing work that the Taliban has considered in the past to violate its strict interpretation of Islamic law.

"Some people think that art is not allowed in Islam and then they feel that they should stop me ... If a lot of closed minds come together, they will be very powerful and they can do anything," Hassani said in a 2016 video interview for The Creators Project.

Making women visible and changing perceptions

Born in 1988 in Iran to refugee Afghan parents, Hassani returned to Afghanistan in 2005 to study painting and visual arts at Kabul University. She had already completed her degrees when she took up graffiti and street art in 2010.

The precarious situation of women and girls in the male-dominated Afghan society has been at the forefront of her work since she started spraying.

In fact, graffiti's ability to publicly highlight the challenges that Afghan women face - but also their strength and resolution - was a major reason Hassani chose to work with the medium, she told Street Art Bio.

She wanted to change how people perceive Afghan women, including those who wear the burqa, a full-body covering, she said: "I try to show them bigger than what they are in reality, and in modern forms, in shaped in happiness, movement, maybe stronger. I try to make people look at them differently."

Hassani has also used her art to respond directly to attacks by the Taliban and other extremist groups, creating searing images of pain and loss. A composite paint-on-photograph work from November 2020 expressed grief in the aftermath of an attack on Kabul University, where Hassani is a professor of fine arts.

A grey-toned image from May of that same year was made in response to a deadly attack on a maternity ward.

She cannot see her future

The depictions of women across Hassani's body of work express a broad spectrum of emotions: longing and defiance, hope and heartbreak, freedom and fear. They tend to be boldly outlined geometric figures with lustrous colors whose many shades meld together seamlessly. Long, thick eyelashes fall over closed eyes as hair flows from under headscarves or freely like film rolls or medusa tentacles. They have no mouths, but often have elements of nature or instruments incorporated into their figures.

"I use them [music instruments] as a symbol for women to play her voice with it. She can use musical instruments to talk with people, to speak louder and [get] more attention, as she has no mouth. But this musical instrument gives her power to speak in society," Hassani told DW in 2018.

"Her eyes are closed, because usually she has nothing good around herself to see ... and sometimes she cannot see her future. And that's why her eyes are closed, but it doesn't mean she cannot see," the artist added.

Afghanistan's first female artist

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Defying her own fear to work in public

The public nature of graffiti also attracted Hassani, who thought it was a good way to introduce art to people who have little chance to visit a gallery or museum. Yet working creatively in public as a woman in Kabul - even when the city was under Afghan government control - had its risks.

"I am really scared of public spaces. I am really scared of explosions happening all the time. And specifically, it's difficult for women to do graffiti and street art because usually people are not happy with women's activities ... all the time I am careful," she told DW in 2018.

On the streets of Kabul, she would do graffiti that was not too large, so she could move quickly. To circumvent these challenges, she started taking photographs of buildings and painting her graffiti directly onto the snapshots, calling it her "Dreaming Graffiti" series.

Hassani works rapidly in her studio, too, which has led to a prolific output that includes everything from largescale canvases to miniature series on dollar bills - a commentary on US foreign policy.

Despite her success in the artistic world, Hassani admitted in 2018 to DW to sometimes feeling hopeless, unable to make a difference.

Nevertheless, she said she is dedicated to giving power and strength to people through her art: "I think that I change people's minds with my artwork and sharing my ideas with people."

With her recent images, she is publicizing the plight of women and girls in Afghanistan and helping to ensure they are not forgotten.

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Capturing Afghan women's voices in graffiti - DW - 08/19/2021

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Afghanistan's first female street artist depicts Afghan women as they face renewed Taliban threats. Despite the danger, she pursues her work of resistance.

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The Works of Director Hiro Murai: Music Video & Short Films

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It was the first time I went to the band's concert

for a band that I did a video for.

And the band was extremely nice,

he was like, here have some beers, thank you.

And then they sort of asked So what are you doing here?

Like, What's your involvement.

I was like, Oh I did the video for you guys

for the Signs Remix and he's like

Oh, we did a video for that?

and so he didn't even know that they shot a video

for it because they're not in the, you know.

There is a lot of like, Oh I've finally made it

kind of feeling but it didn't last very long.

[indie pop music]

That was a music DP, so I didn't conceptualize that video.

I was just there to shoot it.

The director was a friend of mine, Ace Norton.

I shot a lot of $500 music videos for friends

and one of the bigger ones we did was was for

Death Cab for Cutie, and yeah,

I might have been still in college.

I didn't really know what I was doing but

I got pulled into doing music videos

for a lot of friends, so.

I never shot miniatures before but I just figured

its like regular shooting, just smaller.

[indie rock music]

That was around the time where all the labels wanted,

they were asking for viral videos,

cos that just meant to them, they

just meant popular, you know.

All the prompts that we would get would be like

Cade, I want this to be a viral video which meant,

I don't want to spend a lot of money

but I want it to be popular.

It was post-MTV so a lot of ideas that went through

were sort of stuff that you wouldn't be able to air on TV

but you can air on YouTube.

It started from shock value basically, you know?

Scandalous, but also sort of grotesque and make

you feel like you shouldn't be watching it a little bit.

It got picked up a lot which was the first time

we made something and people seemed to notice it.

So that was a really good feeling.

That was like a $2000 video and a lot of my friends

from film school helped me on it and there was

a lot of people who went on to do great things.

Like my friend David Gelb who directed Chef's Table

and Jiro Dreams of Sushi and stuff that he was AD'ing

for me, it was all school buddies just doing favors for me.

[hip hop music]

I was doing a lot of indie videos for no money

and that was one of the first sort of proper budget,

pop videos I'd done.

It took me a while to realize I didn't belong in

that space really, cos' it was just my priorities

were a little bit different.

But it was a fun one, you know, I was just trying

to think of how to get spectacle out of camera effects

and lighting effects and I was trying to take these

weird sort of idiosyncratic ideas that I'd been

working with and trying to scale up a little bit.

And so a lot of that video was just me playing

with camera and lighting techniques and seeing if

I can make a pop video that still feels like me.

But you know, I tend to like sort of more narrative videos

and things that feel outside the language of music videos

you know, when I was DP I spent so much time just

shooting bands playing and making them look

cool that after a while it just kind of got old.

[hip hop music]

When I first worked on Chum he was just coming out of,

coming from boarding school and there was a lot

of hype around him, coming back to rap,

and I think it was a kind of crazy transitional time

for him so that's kind of how I met him.

I don't know, I have a lot of fond feelings

about that video just because of the circumstances.

There is one section in the video where he's upside down

hanging from this goal post that we made,

it's one of those things where I'm so caught up in getting

the shot that I just kind of forgot that I'm hanging

a 16 year old kid upside down over a parking lot

like three in the morning, and then he was just like

Man, what are you doing, I'm going through a lot of

stuff right now and the last thing I want to be doing

is hanging upside down in a parking lot.

So eventually I was just like, you're right,

that's ridiculous, we kind of shot him right side up

and then just visually put him there.

There was one take where we put him up there,

and he was just like, I can't rap upside down,

that's not something I'm ready to do.

There's something about the way Earl raps,

he just feels a little bit detached, you know what I mean,

especially back then he kind of had this mumbly

sort of drawn out cadence and there is something

about that that felt sort of not human or you know what

I mean, there is something about a frog that just

sort of personified that for me.

[hip hop music]

So I just happened to just throw a frog into the treatment

and then when he saw it he was like hey that's looks

like me and so I was like okay,

well I'm going in the right direction.

That frog in there I bought at Petco just to shoot,

and then I ended up keeping it so I still have

that frog in my house.

It's real stupid, FDR.

Frog Doing a Roosevelt.

[indie rock music]

Usually I pitch the idea and then the processors,

labels and the artist go through dozens of treatments

and just pick the ones that they like.

That's something I pitched and then we worked on together

once they responded to it.

But that one was a very complicated shoot.

Music videos are always tough just cos'there's no money.

Because it was such a effects heavy

video every time you shoot,

every time you want to see her in a room as a giant statue

you had to shoot her against a green screen,

and then match the angle and shoot the crowd in the room

in a different scale and so you had to do the math.

You had, she's supposed to be ten times larger

than ourselves so you had all the camera position

has to be ten times the height and yada, yada, yada.

You never really felt like the video was working

when we were shooting it just because you just don't know

until you put it all together.

[piano playing]

It was just like a paragraph that he just emailed me

and told me that he wanted to just make the short film,

it was like a semi-documentary,

he was living in a house recording that album

but also had this narrative thread and he wanted it to be

long and sort of meandering and we just kept saying

that we wanted people to not know what it was for.

And I had just met Donald, I didn't really know who he was

as a creator and a person, but looking back on it now

it really feels like prototype Atlanta a little bit.

I think the tone and cadence of it is really similar.

The whole movie has a sort of like existential dread

kind of hovering over everything and it's very slow

but it's kind of tense at the same time and it just felt

like you needed some sort of punctuation at that point.

[inhaling]

[coughing]

I don't know why it's a tooth,

I don't know why it came out of his nose,

I don't know it just felt

[laughing] it just felt like the right thing, I don't know.

[hip hop music]

Every couple of months he would just text me

and be like, hey I want to do something for this,

or I'm going to make a promo clip for that.

To me, it always feels very sort of like, out of the blue.

We never talk about it like a grand plan of

releasing this video when or that video then.

But yeah, it's one of our many night shoots that

we've done together.

It's a pain in the ass video to make because you're

basically shooting the same shot over and over

and over again and you have to dress Donald

in different clothes and then position him in

different parts of the diner so you're basically just

shooting the same shot like 30 different times,

and you just have to swap him out in different clothes

and put him there.

[trip hop music]

I think part of the reason I like shooting

dancers for videos is I don't like editing videos

to make it fit into the song.

I don't like fast cuts and I don't like edits that

kind of dance to the music, I'd rather shoot something

that dances to the music so I end up incorporating a

lot of dance because it feels like the most direct

connection between the music and the image.

And then for 'Take it there what I liked was

the idea of kind of a dark narrative about a guy

who's sort of spiraling and binge-drinking

and having a night and then transforming that like

into a musical a little bit.

So we kept calling it a evil Fred Astaire music video.

Or evil Singing in the Rain, I guess.

[experimental hip hop music]

But yeah it all kind of started from my initial

conversation with Steve who's Flying Lotus.

He wanted to do a narrative about a black boy

who was late for his own funeral.

And the song is kind of playful and it has this sort of

throw back Lyndy Hop-esque sort of vibe to it.

But it has this, but the lyrics are all about death

and it has this sort of dark undercurrent to it.

So we wanted to combine those two energies,

like the old school Lyndy Hop dance routines

but in a very modern and bleak context.

It's the easiest thing to film and look amazing

cos' those kids are amazing, they just bring

so much of their own energy and personality to it

that it's one of those things where I can just show up

and just try to capture that.

I don't need to contrive it by telling them to do

certain actions, it feels very intuitive

when you work with kids.

[hip hop music]

You never expect a video to hit like that.

That's insane, I didn't expect anything like that.

Donald's always better at calculating the sort

of cultural impact than I am, I'm usually sort of

caught up in the minutia of making it.

So maybe he had an inkling but either way,

it was a total surprise to me.

I kept getting sent artwork and there was a video

called 'And This Is Nigeria' where a Nigerian rapper

was kind of dancing and all these Nigerian

dancers and it's really an incredible thing when you see

people sort of engaged in something you make and

then try to make something else out of it.

Yeah, it's very rare, but it was really, really

just incredible to see.

I work with a friend of mine, he's a rapper.

Rap. There's a funny one.

It's the best, honestly.

We're all just really close on that show

and before Atlanta I'd never directed TV before.

So I literally just learned on the job.

I couldn't ask for a better circumstance,

I'm working with Donald who I've worked with for three

or four years and the way effects works too is they

just sort of let Donald be creative and kind of

find the show, so I was very spoiled.

It's kind of a dream scenario.

We shot Teddy Perkins and the woods back to back

because we shoot episodes in blocks,

so that was a pretty intense block just because

both of the episodes are really dark and bleak.

That was extremely tough just because of the

emotional content of it but also because we

felt like we were making two very stylistically

different things at the same time.

But because of that it was really memorable and

Christian Springer the DP and I kind of look fondly

on that, on those two weeks cos it was so

chaotic but it was also very creatively fulfilling.

Sometimes I'll listen to a song a thousand times

and then just come up with nothing.

It's usually all tone for me.

It's a long winded way of saying I don't really know.

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Hiro Murai Breaks Down His Most Iconic Music Videos

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The director of Childish Gambino’s legendary “This is America” visual takes GQ through his career, from low-budget roots to the biggest music video of all time.

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Encuentra fotos de stock perfectas e imágenes editoriales de noticias sobre John Moore Immigration en Getty Images. Haz tu selección entre imágenes premium sobre John Moore Immigration de la más alta calidad.

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Liza Donnelly | Home | New Yorker Cartoonist

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Liza Donnelly is an American cartoonist and writer, best known for her work in The New Yorker, author of fifteen books and an accomplished public speaker.

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Inside a cartoonist's world - Liza Donnelly

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Shamsia Hassani is a graffiti artist and muralist who was born in 1988 to Afghan parents in Tehran, Iran. Shamsia has experimented with many techniques in painting and created Afghanistan's first 3D painting in 2014. She has been invited to different countries (including Italy, Norway, Denmark, Germany, Switzerland, Turkey, India,...

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Pawel Kuczynski graduated Fine Arts Academy in Poznan has been rewarded with more than 140 prizes and distinctions creating thought-provoking illustrations that comment on social, economic, and political issues through satire.

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Pawel Kuczynski Art Collection // Pawel Kuczynski graduated Fine Arts Academy in Poznan has been rewarded with more than 140 prizes and distinctions creating thought-provoking illustrations that comment on social, economic, and political issues through satire.

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A week before the Oscars when Banksy 's was nominated in the best Documentary category. Banksy Exit Through The Gift Sho p hit up LA for a week, and left a few impactful murals.

Child Soldier, also known as Crayon Boy, appeared in Westwood, Los Angeles , in 2011 on a wall of "Urban Outfitters", although it seems it did not last long before it was vandalized with paint. This mural showed a kid using an automatic weapon visibly an act of violence during some kind of war.

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Crayon Boy, February 2011 - Banksy Explained

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Crayon Boy Crayon Boy Date: February 2011 Location: Los Angeles, USA A week before the Oscars when Banksy's Exit Through The Gift Shop was nominated in the best Documentary category. Banksy hit up LA for a week, and left a few impactful murals. Child Soldier, also known as Crayon Boy, appeared in [...]

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During her time as First Lady, Michelle Obama has captivated audiences with her speeches. She has spoken about her experience as a black woman competing in the very white field of academia and has not been afraid to call out Donald Trump's sexist comments. While campaigning for Hillary Clinton last month in New Hampshire, Michelle pointed out how this election cycle is different. She said, "This is not normal. This is not politics as usual." Michelle later added about Trump's sexist rhetoric, "It has shaken me to my core in a way that I couldn't have predicted."

Michelle Obama is a genius speaker in her own right. Like Barack, she knows how to engage an audience with a mixture of sharp intelligence and accessibility. She's blessed stages from Greensboro, North Carolina, to Qatar with grace and confidence. In honor of Michelle's last days in the White House, here are five of her most impactful speeches.
Michelle Reminisces about Growing Up on the Southside of Chicago
August 26, 2008

Democratic National Convention: Denver, CO

We knew a lot about the Obamas before they arrived at the Democratic National Convention, ready to become the first black couple to earn the nomination of a major party. We knew about their two daughters, their political aspirations, and their whirlwind romance and marriage. But this speech specifically introduced us to Michelle. It's significant because it positioned Michelle as a woman who wanted to change the world. "All of us driven by a simple belief that the world as it is just won't do - that we have an obligation to fight for the world as it should be," she said.
Michelle Discusses the Legacy of Maya Angelou
June 7, 2014

Maya Angelou's Memorial Service: Winston-Salem, North Carolina

Maya Angelou's death rocked the world - and moved Michelle to speak at her memorial service. She spoke about Maya's work influencing her as a black girl being raised on the southside of Chicago. This proved to be the first time Michelle directly evoked her black womanhood. In that speech, Michelle said Maya's poem, "Phenomenal Woman," "spoke to the essence of black women." "As a young woman, I needed that message," she said. "As a child, my first doll was Malibu Barbie. That was the standard for perfection. That was what the world told me to aspire to. But then I discovered Maya Angelou, and her words lifted me right out of my own little head."

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5 of Michelle Obama's Most Powerful Speeches EVER

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During her time as First Lady, Michelle Obama has captivated audiences with her speeches. She has spoken about her experience as a black woman competing in the very white field of academia and has not been afraid to call out Donald Trump's sexist comments.

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http://www.artnet.com/artists/annie-leibovitz/

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It is not every time that a brand is able to tap into its full potential for marketing its products. But when it comes to Nike, the brand has almost always struck marketing gold. With some amazing ads under its belt, one can tell why Nike is as popular a brand as it is - they know exactly how to promote themselves. Here are 12 best Nike ads that are just plain brilliant!
Also read: 11 Most Creative Fevicol TV Ads We Still Remember! 1. I Feel Pretty
A lot of times women in sports are treated like second grade citizens as compared to their male counterparts, and are often reduced to their looks. However, women like tennis player Maria Sharapova prove that they can be just as good at what they do.
2. Love Me or Hate Me
Kobe Bryant was one of the biggest names in professional basketball in America until his death in a helicopter crash in 2020. However, in 2003 when Bryant was accused of sexual assault, a number of brands rushed to sever ties with the sportsman. Nike, on the other hand, took a stand for Bryant, and the above ad was Bryant's first commercial since the sexual assault claim.
3. What are girls made of?
Nike has, over the years, made major push for women in sports, and has marketed its products with thoughtful ads in a number of languages.
4. What will they say about you?
Like the one before, this ad too promotes women in sports, tackling the age old question of "What will people say?"
5. Believe in something.
Nike has a reputation for sticking by people regardless of controversy. When Colin Kaepernick kneeled during the national anthem in support of the Black Lives Matter movement, people's reactions were polarized, and Colin Kaepernick was dropped off of NFL next season as he remained unsigned. Despite this, Nike offered him an endorsement a year after Colin's last football match.
6. Winner Stays
In this memorable ad, Nike managed to rope in some of the biggest names in football, including Cristiano Ronaldo, Neymar, Zlatan Ibrahimović and Wayne Rooney among others. Even Kobe Bryant can be seen in the audience.
7. This is us
Say what you may, Nike knows how to make ads that speak to its female audience.
8. The shoe works if you do.
Sad news guys, just buying the shoes won't cut it!
9. No Excuses
In one of Nike's most iconic ads, wheelchair basketball player Matt Scott asks the viewers to say goodbye to excuses.
10. Lunar New Year: The Great Chase
Every culture has its own quirks, and in this hilarious ad, Nike explores the cat and mouse game that follows in every Chinese household on New Year's, with elders offering children money, and children politely declining.
11. Dream Crazier
Reality is boring enough, least you can do is dream crazier.
12. Nike's Colin Kaepernick commercial
Like mentioned earlier, Nike stood by Colin even as he was cornered away from the sport that he was known for. He was even featured in a full length commercial!
13. Play New
A lot of people are afraid of trying out new things because we live in a world that wants you to only do things if you're good at them. However, sometimes, trying is enough!
14. When your son plays the Tuba...
...no one wins
15. Tell Me
If this doesn't inspire you to never cross Michael Jordan, I don't know what will!

Did you like our list of the best Nike ads? Tell us your favourite one in the comments below!

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15 Best Nike Ads That Are Just Plain Brilliant and Totally Iconic!

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It is not every time that a brand is able to tap into its full potential for marketing its products. But when it comes to Nike, the brand has almost always struck marketing gold. With some amazing ads under its belt, one can tell why Nike is as popular a brand as it is - they know exactly how to promote themselves.

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Learn more about Dove campaigns here and watch your favorite videos from Real Beauty Sketches to Choose Beautiful.

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"We did not create our advertisements in order to provoke, but to make people talk, to develop citizen consciousness," Luciano Benetton assures us. Whether or not they began in this way, many Benetton advertisement campaigns have ended with controversy. In the Autumn of 2011, with the launch of the unHate campaign, some of the photographs in the series wouldn't see a full day on the billboards. It is by this light - the light of controversy - that I consider each advert. It must be acknowledged that such campaigns do wonders for the company: a political alignment with consumers is much stronger than a strictly aesthetic one, after all. Nevertheless, given that such projects have enormous visibility, there is a logic in the highly politicized propaganda. I believe this is the classic win-win situation. We shouldn't whine about that.

10. This one's for the fridge

This 1991 ad is much more than meets the eye. Sure, there's the typical message of unity: one figure from three historically conflicting continents all being warmed by a single blanket. Looking closer at the image, you see that the women on either end of the child have their hands clasped together (which would probably explain the colors used for the blanket) and suddenly the image becomes a family portrait. The power of this advert is its subtlety and refusal to submit to any homosexual stereotypes or restrictions in terms of interracial love or the issue of adopting.

9. Whoa, whoa, what's important!

Benetton takes on a different issue in 1997, fighting world hunger through its support of the World Food Programme (WFP). Portrayed above is the most startling of the images; it depicts, in an entirely unique way, how hunger can consume the body (no starving bodies here, just spectacular symbolism). I would have put this ad higher up on the top ten if it weren't for the natural no-brainer nature of the subject being tackled. World hunger is understood by all to be a grave issue - even if it doesn't figure in the everyday life of most that would come by glossy magazine advertisements. Benetton will prove itself to be capable of much greater controversy!

8. Ebony & Ivory

Here's an image to be studied. Luciano Benetton, the hero of this list one might say, meets a photographer, Oliviero Toscano, in 1982 who shows him that a focus of message over product could be more effective. In that year, Toscano creates the above work. Vaguely Blakean in its Romanticism, two innocent young girls - one white, one black - embrace one another. But are they really as innocent as each other? There seems to be an imbalance. The girl on the left has the hair and cheeks of a cherub, of an angel. The other girl has her hair spiked up like devil horns and resists a smile. Although attempting a "uniting" effect, the ad fails in its racist shortcomings, separating colors into good and evil.

7. Sentenced without words

Nobody saw this one coming. 1996 marks a challenge to capital punishment, a subject much more contestable than any we've seen to date. The idea of using convicted criminals as models for a high-end fashion label isn't the first to come up at a board meeting. Essentially, this is yet another outlet for their pro-life message: suffer at all costs, just don't do the wrong thing by taking life away. While consistent, there is a bizarre leaning towards a defense of violence (although involuntary) which weakens the effectiveness yet raises the bar of controversy.

6. unPreservable

What's colorful, mass-produced, and fun? It was only a matter of time before Benetton saw the link between their line of clothing and condoms. Influenced by the Olympics in Barcelona the preceding year, the 1993 ads brought color to the AIDS pandemic. This was just over a decade after the formal recognition of the disease; when it was still charged with ideas that it was cleansing society of the undesirables. Benetton bravely uses HIV positivity to create lively, sexy images - a perspective very unlike traditional representations of AIDS as death itself. As we will shortly see, they will play on this trope more controversially.

5. An odd bouquet

The next image takes the eroticized body of number 6, above, and changes the corporeality to its essential value: the inner body, the organs. In the consistent message of love, which organ should be chosen but the heart? This echoes the words of none other than Shakespeare: If you prick us, do we not bleed? On the inside, we are all the same, white, black, yellow (although we might argue that these are contestable titles). The clinical grotesqueness of the hearts is married to their poetic value as pseudo-roses, side by side. They inhabit a space between ugliness and beauty, between violence and peace.

4. Fear and clothing in L.A

Using iconic images from the recent news of horrors that still haunt the millions is insensitive. Very often, insensitivity is effective. The car bomb image at the left, for example, treats the issue of terrorism from an observational perspective, as if saying that the brand is still relevant to today's issues and that some issues cannot be considered as simple as we have seen to date. How could you fit the message of love into this, after all? But to be clearly observational is to be reductionist. The images as controversial precisely because they can't make up their mind on any of the issues they try to tackle, yet still, try to sell clothing by means of them.

3. Red to your head

In the last entry, there were public pictures - although terrifying - that belonged and deserved to be in the public sphere. In 1994, Benetton takes the uniform of a fallen Bosnian soldier brutally wearing its red (the most uniting color of all, no?) and bullet holes. This was conveniently at the height of the war's presence in western media where it became the issue of human rights with its thousand-fold complications. It is no wonder that Benetton was attracted to it! Interestingly, this is the only ad to make it on the list that features primarily clothing (not of their company of course, but clothing never the less).

2. Baby, we'll get through this

A birth, the symbol of life. That is the instant value of this image. It is about as brutal as anyone would care to have it, representing childbirth in a much truer fashion than most films. But the pains of first breath is just the beginning: this is another image from the 1993 AIDS campaign. A child born into illness and death becomes one of the most discomforting images ever to grace the billboards.

With the umbilical cord still intact, the baby lays in a premonition of the grave. Child deaths from AIDS are still prevalent. In 2007, it is estimated that there were 330,000 infant deaths on account of the disease. It is important to face the truth, and its worth is greater when appearing in an unexpected place such as advertising space.

1. Face to face

The simplicity of this gesture, a kiss, in comparison to many of the aggressive notions in the ads we have seen to date shouldn't be able to incite such strong reactions as it does. The choice of Pope Benedict XVI and imam Sheik Ahmed el-Tayeb profoundly makes an argument for reconciliation (elsewhere, other world leaders are chosen). Just hours after being put up, Benetton was required to take down this advertisement and apologize to the Vatican, who are taking legal action.

The unHate series marks the enunciation of a new political position, which had already been hinted at. Rather than love, that can fail us sometimes, a message of unhate (like a child's rendition of the term) continues with their earlier political positions while encompassing the present issues. For this reason, and the upstart reaction, it deserves the highest spot on our list. Spread the message of unHate!

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10 Most Controversial United Colors Of Benetton Ads - FriendlyStock

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"We did not create our advertisements in order to provoke, but to make people talk, to develop citizen consciousness," Luciano Benetton assures us. Whether or not they began in this way, many Benetton advertisement campaigns have ended with controversy.

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In an attempt to reach African American customers, many U.S. businesses began integrating their commercials-often by relying on fraught stereotypes.

The Atlantic

In the 1970s, something special began happening in American advertising. At the tail end of the civil-rights movement, the industry began to move away from its decades-long habit of portraying African Americans almost exclusively in positions of servitude or inferiority, as props in ads aimed at white audiences. By the 1970s, companies such as McDonald's and Coca-Cola began increasing the racial diversity depicted in their campaigns. In 1974, Jello became one of the first big companies to hire an African American spokesperson-Bill Cosby. The goal was twofold for corporations: to keep up with the times, and to broaden their potential consumer base.

But the way many agencies went about this demonstrates how little they understood about their target demographic-and the results, like so many vintage ads, appear deeply misguided to modern audiences. To McDonald's, for example, appealing to African American consumers specifically meant, in part, ads such as " Makin' it" and " Dinnertimin,'" which made extensive use of "g-dropping."

There was also the "Get Down" campaign.

Ads featuring Caucasians from around the same time, meanwhile, left out lines like "On the real, kids can really dig gettin' down with McDonald's" and the insidious "'em." Employing "g-dropping" to appeal to African American audiences has a long history, from Aunt Jemima's much-maligned " mammy" ads (which used lines like "Every bite is happyfyin' light") in the early 20th century to President Barack Obama's controversial speech to the Congressional Black Caucus in 2011.

Burger King played up this vernacular distinction in some of its "Have It Your Way" ads to a lesser extent, though one ad inexplicably interjected the line "Have mercy!!"

How marketing defined and influenced an era
Read More

Charlton McIlwain, an associate professor at New York University who specializes in race and media, said in an email that he views these tone-deaf ads as "the outcome of [advertisers] trying to do the right thing, but not necessarily knowing what that meant." White-dominated ad agencies lacked a general familiarity with blacks and black communities, leading them "to design ads that were racially naive and necessarily relied on stereotypes for lack of any other information."

Neil Drossman, an executive creative director and partner at his own ad agency, agreed, calling the McDonald's ads "a really cynical and superficial effort to reach a black audience." Drossman, who began working in New York ad agencies in the 70s, said he remembers his firm working on an ad featuring a black couple and being asked if it looked "too urban." According to Drostman, most of the industry's missteps resulted from an ignorance on behalf of mainstream ad companies (though there were and are specialized black agencies), but the general failure in tone was something that even the conventions of the era can't really excuse. "What differentiated the good agencies of that period from the big, bad ones (the great majority) was a respect for the target and a desire to understand it," Drossman said.

Advertisers knew empirically that African Americans were more likely to buy a product when they saw themselves reflected in ads-so targeted advertising made sense. But agencies also worried that products would become "branded black," losing them their white consumers as a result. This turned out to be a misguided fear. Demographic targeting continued to flourish, and by the end of the decade, blacks made up around 12 percent of models in commercials, compared to 3 percent in the mid-1960s, McIlwain said.

If microtargeting is a legacy of 1970s advertising industry shifts, then so is the casual-or symbolic-racism that inevitably resulted. As the sociologist Anthony Cortese noted in his book Provocateur: Images of Women and Minorities in Advertising, "Stereotypes of blacks and ethnic minorities have not been eliminated but have changed in character, taking subtler and more symbolic or underhanded forms." While advertisers took depictions of African American more seriously, other minorities were left out, largely because they had no significant spending power and weren't worth pursuing.

Not only did advertisers regurgitate stereotypes, but they also helped invent new ones. The 1970s also marks the beginning of advertisers targeting minorities in vice-related categories. Think alcohol and cigarettes, especially menthol, which companies such as Winston branded as "Real & Rich & Cool." As middle-class white consumers began kicking their smoking habits in the 70s, agencies began advertising for cigarettes in predominantly black communities at 2.6 times the rate of white communities. Today, McDonald's continues to run a website dedicated to promoting black culture called 365Black. As Imani Perry, a professor at Princeton University's Center for African American studies told Digiday in 2014:

McDonald's direct marketing to African Americans has always troubled me, largely because so many African Americans live in urban areas surrounded by fast food restaurants and with limited access to fresh produce and unprocessed food. It seemed to add insult to injury to present this business as having any investment or interest in African American history and culture.

There is a difference, though, in the kind of reaction companies can expect today if an ad goes too far in an attempt to appeal to a certain demographic. "Businesses must weigh the benefit of potential profit to be gained from ethnic consumers against the risk of permanently alienating such large consumer markets," Cortese said. "In the past, boycotts by ethnic consumers were successfully used for social change. Today's activists are much more hostile and bold. Demands that particular goods be taken off retail shelves have become more intense."

Which is great news. The overall progress the advertising industry has made in depicting people of different backgrounds and lifestyles hasn't made people any more complacent about the kinds of casually racist imagery so many promotions still resort to. Ashton Kutcher in brownface playing a character named Raj for PopChips? Backlash, and the ad got pulled. A Mountain Dew commercial featuring a goat suspected of beating up a woman telling a lineup of black men "You betta not snitch on a playa"? It was called " the most racist ad ever " and also got pulled. All of which goes to show that, even with decades of hindsight, agencies are still looking to the sensibilities of the public to keep them in check.

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'Dinnertimin' and 'No Tipping': How Advertisers Targeted Black Consumers in the 1970s

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In an attempt to reach African American customers, many U.S. businesses began integrating their commercials-often by relying on fraught stereotypes. In the 1970s, something special began happening in American advertising. At the tail end of the civil-rights movement, the industry began to move away from its decades-long habit of portraying African Americans almost exclusively in positions of servitude or inferiority, as props in ads aimed at white audiences.

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Documentary “13th” to screen Oct. 17 at MSU

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The Emmy-winning documentary “13th,” which is about racial inequality in the U.S. prison system, is by award-winning filmmaker Ava DuVernay. The screening, sponsored by the MSU Leadership Institute, is free and open to the public.

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Content Warning: This film includes discussions of eating disorders, body dysphoria, self-harm, sexual assault, and suicide. While we have done our best to explore these topics conscientiously, remember that we are looking through the lens of a single person's experience. Please take care of yourself as you watch and use the resources provided at the bottom of this page to find support if you are struggling with any of these topics.
For Lor Sabourin, climbing is more than a sport; it's a way of exploring identity and building resilience in the face of adversity. They/Them follows Lor, a trans climber, into the sandstone canyons of northern Arizona, on a journey to piece together one of the hardest and most inspiring routes of their life. By embracing the strength in vulnerability, Lor has found the space to thrive and build a climbing community that others like themself can call home.

If you or a loved one is experiencing a mental health crisis, there are organizations that can help:
The Trevor Project: 1-866-488-7386
Trans Lifeline: 1-877-565-8860
National Suicide Prevention Lifeline: 1-800-273-8255
National Eating Disorders Association Helpline: 1-800-931-2237

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Content Warning: This film includes discussions of eating disorders, body dysphoria, self-harm, sexual assault, and suicide. While we have done our best to explore these topics conscientiously, remember that we are looking through the lens of a single person's experience.

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© Hosam Katan 2021 | Impressum | Datenschutz | Gestaltung: Bureau Sebastian Moock

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Hosam Katan | Hosam Katan photojournalist, documentary Photographer, war photographer

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Hosam Katan a photojournalist and documentary photographer covers conflicts and society's issue

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Outdoor clothing brand Patagonia has today (7 October) launched new film, They/Them, which is a 70-minute documentary about Lor Sabourin, an Arizona-based climber, guide and coach who identifies as trans and uses the pronouns "they"/ "them".

Patagonia and Lor Sabourin

For Lor Sabourin, climbing is more than a sport, it's a way of exploring identity and building resilience in the face of adversity.

They/Them follows climber Lor into the sandstone canyons of northern Arizona, on a journey to piece together one of the hardest and most inspiring routes of their life.

By embracing the strength in vulnerability, Lor has found the space to thrive and build a climbing community that others like them can call home.

Commenting on the brilliant, though vertigo inducing film, Lor Sabourin, who is Patagonia's Climb Ambassador, said: "I was introduced to climbing when I was about 12 years old.

"I started to realise it was a powerful resource for learning how to deal with stress, learn how to push the edge of my comfort zone and gain the resources that I needed to build a supportive community.

Climbing safe space

"Climbing has this amazing opportunity to provide safe space for gender non-conforming people to participate in sports because our sport isn't as highly gendered as others, especially in the outdoor realm. "These types of sports are really special at a time when so many trans people are being pushed out of sports, as they can create a framework for showing how we can be more inclusive.

"I hope that this film paints a story of what sports can mean to a person who has experienced systems of oppression, and how it can give them a sense of safety in their body - and how being outside can be really liberating.

"I hope that you leave the film questioning what you can do to make your community feel safer, not just for trans people but for anyone that might be wondering whether they're going to be safe."

Justin Roth, Global Marketing Manager, Alpine & Rock Climbing, Patagonia, said: "At Patagonia, we look to highlight stories that show the beauty of our planet and the athletes and activists that embrace its gifts.

"They/Them embodies each of these themes and goes one step further in opening our eyes to communities that are often overlooked in the outdoors space.

"It's well documented and understood within the LGBTQ+ community that climbing, and the outdoor movement at large, has a lot of room to become more inclusive of marginalised groups.

"We are so excited to use our platform to help Lor share their story and mission.

"Our ambition is that it might help expand the idea of what it means to be a climber, foster a climbing community where all people are welcome, safe; and free to be their authentic selves.

"Patagonia understands the scale of the work we still have to do to make our sport and outdoor communities inclusive uplifting for all - but we are committed to this goal."

Watch They/Them online at eu.patagonia.com/they-them .

You can also view a global launch event at the same address featuring Lor, the filmmakers, and professional climber and advocate for the LGBTQ+ community in the outdoors, Nikki Smith (available for one month).

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Patagonia releases stunning 'They/Them' film exploring identity and the outdoors -

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Outdoor clothing brand Patagonia has today (7 October) launched new film, They/Them, which is a 70-minute documentary about Lor Sabourin, an Arizona-based climber, guide and coach who identifies as trans and uses the pronouns "they"/ "them". For Lor Sabourin, climbing is more than a sport, it's a way of exploring identity and building resilience in the face of adversity.

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Michelle Obama’s full speech at the 2020 Democratic National Convention

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First Lady Michelle Obama on the importance of girls’ education

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Studies of Black History at the University of San Diego

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Ava Duvernay's documentary explores mass incarceration and the presence of racial criminalization from the end of slavery to the present. The documentary features interviews with several leading scholars, pundits, and activists working on the issue, as well as a host of other commentators, including journalists and politicians. The main argument at hand is that mass incarceration is an extension of slavery. demonstrates that criminalization has been a persistent feature of anti-black racism. Much of the story speaks to the attribution of the term "crime" to the black identity that is reinforced during the Nixon and Reagan eras of the New Right. Crime and black communities became intertwined in a national narrative of fear mongering that enabled Congress to expand the criminal code. As a result, the prison systems saw a greater and greater influx of primarily African Americnas over time - eventually generating an industry of private prisons as a byproduct of racial state violence in a capitalist society.

begins with the conclusion of slavery. Slavery was eradicated, yet an entire region's economy was left in shambles - something had to be done. The prison system was the solution. While the 13th Amendment asserted the illegalization of slavery, one clause left a loophole: "except as a punishment for crime." This was part of constitutional language, an available tool to be used in whichever way the South wanted. Prison was the answer. And therefore, the black identity became criminal - an animalistic threat to white society. This branding became a staple in racial attitude, conditioned within the nation. Jim Crow was the social norm. It was a part of the fabric that was American culture as it revolved around day to day performances. While institutions were the vehicles, racial ideologies were the pulse.

Richard M. Nixon's 1968 campaign "ran on a platform of 'law an order'" would be the introduction of the New Right. This mantra is what may be called "dog-whistle politics" ( ) which really referred to the movements of black liberation, antiwar, and gay rights. The wave of protests and sensational trials during the period rendered persuasion of whites easy to think they needed this "war on drugs." The carceral state established itself as it hid behind the words of "law and order" and was in direct response to the rebellious social movements. One quote from the movie reveals a shocking admission from a Nixon official:

The Nixon campaign in 1968, and the Nixon White House after that, had two enemies: the antiwar left and black people. You understand what I'm saying? We knew we couldn't make it illegal to be either against the war or black, but by getting the public to associate the hippies with marijuana and blacks with heroin, and then criminalizing both heavily, we could disrupt those communities. We could arrest their leaders, raid their homes, break up their meetings, and vilify them night after night on the evening news. Did we know we were lying about the drugs? Of course we did. ( )

This was a quote from John Ehrlichman who was a Nixon advisor. He admits the Nixon administration's "war on drugs" and it's true implications. The southern strategy entailed a less overt focus on race while grounded itself in an ethos of "color-blindness." Incarceration is not merely the prison walls that have been built around these Black Americans. Incarceration has become an "integral [part] to U.S. state process that has rendered Black people ... " ( Sojoyner 98).

Focus then shifts on the Reagan era that immediately followed. Reagan was the man who enforced his declaration of a "war on drugs" - centralizing the drug policy in the executive branch, cutting addiction programs, and enforcing unfair minimums for drug-related penalties. Meanwhile, crack cocaine had come to the forefront - a new cocaine of the 1980s. It's unfamiliarity immediately induced a fear. Congress established mandatory sentencing penalties that were far harsher on crack than for cocaine powder. It is mentioned that the latter is a more suburban issue while crack is more of an urban issue. The national media had shifted its attention on black communities where "joblessness, low-performing schools, deficient health care facilities, and decrepit housing" existed before drug use became a public issue (White et al. 578). Despite this, crack cocaine was a new topic; not many knew that it did not appear in inner-city neighborhoods until 1985. The confusion and unfair concentration on crack only enabled the explosion of mass incarceration. This pattern would not cease: "tough on crime" attitude was necessary to win the presidential election. Democrat Bill Clinton adopted this identity and put severe punishments on violent criminals along with mandatory minimum sentences. Prison life became harder to escape.

What came to my surprise was the incentive that came with imprisonment. The fact that "punishment is profit" completely subverts my idea of the prison system. Although the private prison system is not the all-encompassing impetus in the criminal system, it does change the concept of prison as a whole - that it is not just for the purpose of reform. These private institutions have contracts with states, shareholders who require bodies behind bars to maintain their assets. And when minimum sentencing is set in stone with these high bails, people like Khalief Browder - poor individuals subject to racial profiling - are fixed two tough choices of plea bargains with longer sentences or jail time awaiting proof of innocence.

Mass incarceration has been the product of institutionalized racism. Much of the criminalization is based in identification and labels with "crime" and "criminal." The idea was not personal construction but rather preconceived notions passed down generation after generation. has made me - and maybe you as well - realize how incarceration has introduced a carceral state that has spread beyond the cage.

Works Cited

Sojoyner, Damien M. "Incarceration." Keywords for African American Studies , edited by Erica R. Edwards et al., vol. 8, NYU Press, New York, 2018, pp. 97-102. , www.jstor.org/stable/j.ctvwrm5v9.24. Accessed 29 May 2020.

White, Deborah Gray, et al. Freedom on My Mind : A History of African Americans with Documents , 2nd ed., Bedford/St. Martin's, 2017.

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13th, A Documentary in Discussion - Studies of Black History at the University of San Diego

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Ava Duvernay's 13th documentary explores mass incarceration and the presence of racial criminalization from the end of slavery to the present. The documentary features interviews with several leading scholars, pundits, and activists working on the issue, as well as a Continue reading →

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Street art develops into multiple forms in public places or on the streets. The term includes: the practice of graffiti, use of stencils, paint and markers, video projection, creation of posters on streets and sidewalks. Street art is considered a movement of artists who refuse to be associated with the masses, who want to raise attention by showing their political opinions, without being associated with a particular art form. The street artists are basically the ones who prefer to perform without permission, without prior consent, without taboos and without limits. Street art can be seen everywhere in the world, since it has no boundaries, nor sex, nor predetermined delimitation. All this has contributed to making this form of art increasingly original and popular.

Bansky is undoubtedly one of the most legendary graffiti artists, identified as a troubadour of modern times. He is a renowned and committed artist, incisive and often amazing. Today, Banksy has a place among the great pesonalities of this world, with his subversive actions.

He loves to provoke, shock and even disturb society. Equipped with a great ability to break the rules, he also manages to hide his identity. A true mystery to date, with several active theories, such as the one that identifies him with Robert Del Naja of Massive Attack. Philanthropist, anti-war and revolutionary, he takes his art as a means of communication to loudly proclaim his dissatisfaction with certain aspects of society, certain political situations or even certain decisions taken by world leaders.

Born in principle in 1973, since 1993 his works shine on several continents. It seems he said that he doesn't express himself at best with the usual spray can and only in 2000 did he start using more elaborate stencils. But not only: next to the stencils he's also dedicated to paintings, sculptures, diversions of urban objects or classic works, installations. Banksy is a versatile artist. He plays and provokes. He shows some of the facets of human conditions, always elaborated with a good dose of humor. His recurring figures are monkeys, mice, policemen, children, cats and members of the royal family.

Below is a list of his most famous works: a way of (re)discovering his figure through his art.

Girl With Balloon

A little girl who lets a heart-shaped balloon go: Girl with Balloon represents one of Banksy's most popular works. Next to it, there was the famous inscription "There is always hope". Always produced with a stencil, this drawing was painted in 2002 on the facade of a London store. But in recent years, English and tourists can no longer admire it: in 2014, it was taken from the wall to be sold for auction. Recently, in October 2018, the same painting had been awarded to an anonymous buyer by telephone at the Contemporary Art Evening Sale for 1,042,000 pounds, a record for the artist. Shortly after the auctioneer hit the hammer, a sort of document shredder apparently hidden inside the frame, destroyed much of the canvas that slipped out of the bottom of the picture into many strips.

The details are obviously unknown, but after that happened, he commented on Instagram: "Going, going, gone..." Just to confirm its unconventional and provocative nature.

The Anarchist Rat

Banksy is very inspired by mice, which often seems to be associated with the human race. He illustrates them recurrently, in all possible scenarios. The Anarchist Rat represents a mouse, standing on its hind legs, holding a sign with an obvious anarchic sign.

Kissing Coppers

The two policemen in typical British uniform are depicted kissing, in what looks like a loving hug. Now only a copy of the wall exists, the original has been sold.

Pulp Fiction

The original version depicted two men pointing bananas, rather than the guns used in the film. This work was canceled from the city. But Banksy did not give up and recreated a second one, in which the two heroes are dressed in bananas.

Unwelcome Intervention

This mural depicts two kids playing with buckets and shovels, like creating sand castles on a beach. The boys, one standing and the other on their knees, look back at the viewer, rendered in the typical aesthetics of Banksy's black and white stencil. Just above the boys, the artist created the illusion of a hole on the gray wall on which the mural was created. Through this false hole, a photorealistic color image of a paradise is visible: a tropical beach with sand, crystalline water and several palm trees.

Mona Lisa Bazooka

Banksy uses one of the most famous paintings in the world, La Gioconda (1503-4). although here the female protagonist wears a headset and holds a rocket launcher. The piece first appeared in the Soho district, in the west of London. While Da Vinci's Mona Lisa looks graceful and passive, Banksy gives it a powerful, conflictual and active sensibility. His facial expression remains calm as in the original, however, next to the powerful weapon, his welcoming smile seems slightly threatening. It can also be read as a statement on how blasé citizens have become constantly active on war, always happening in a place somewhere away from their peaceful lives.

Hammer Boy

Banksy is an excellent example of the way street artists use the surrounding environment as an integral part of their works. In this work he staged a simple black silhouette of a child with a big hammer, about to hit a fire hydrant. The work is located on 79th Street, just east of Broadway, on the Upper West Side of Manhattan.

Banksy and other street artists encourage viewers to imagine urban spaces, surfaces and objects in a different way, transmitting a sense of fun and stimulating the imagination. Urban spaces and surfaces are not limited to their prescribed uses. You have the freedom to re-use the urban environment. A fire hydrant is not only a water tool, but can become a toy for children. A handrail is not just for holding and supporting us, but can also become a tool for acrobatic acts.

Season's Greetings

It is one of his last murals, appeared on two walls of a private garage in the area of ​​Taibach in Port Talbot, an industrial city of South Wales, considered among the most polluted areas of United Kingdom mainly due to the presence of old steel mills. The inhabitants are used to cleaning the ash away from the parked cars or the windows of their homes.

Precisely the steel mills, the ash and more generally the problem of pollution are the base of Banksy's recent work. The video that the artist published on his Instagram account leaves no room for doubt: at the beginning the shot takes up a child intent on 'tasting' the fresh snow that falls joyfully with the sweet background of 'Little Snowflake', but then the field of vision widens and we see that it's ash, not snow. The framing rises and the disturbing figure of the steelworks looming over the city appears in the background.

Reportedly, the artwork comes from a direct message that the artist received on Instagram from Gary Owen, 55, who invited the artist in August to ask him to highlight the dust problem of Port Talbot from the nearby steelworks. A way of demonstrating that Banksy is also trying to give voice to the problems of normal men, who live the burdens of our sick planet.

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Banksy: the best paintings and the meaning of his art - Auralcrave

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Street art develops into multiple forms in public places or on the streets. The term includes: the practice of graffiti, use of stencils, paint and markers, video projection, creation of posters on streets and sidewalks.

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The Gordon Parks Foundation permanently preserves the work of Gordon Parks, makes it available to the public through exhibitions, books, and electronic media and supports artistic and educational activities that advance what Gordon described as "the common search for a better life and a better world."

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Photography Archive - The Gordon Parks Foundation

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The Gordon Parks Foundation permanently preserves the work of Gordon Parks, makes it available to the public through exhibitions, books, and electronic media and supports artistic and educational activities that advance what Gordon described as "the common search for a better life and a better world."

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Graffiti, Consumerism and Capitalism - Banksy Explained

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Graffiti, Consumerism, and Capitalism "We can't do anything to change the world until capitalism crumbles. In the meantime, we should all go shopping to console ourselves." Banksy's critique of capitalism and consumerism is a key theme he explores and revisits throughout his career. Many of his editioned prints, in fact, relate to [...]

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Pablo Albarenga won Photographer of the Year back in 2020 and we're delighted to see his works in print at the Sony World Photography Awards 2022 exhibition.

Seeds of Resistance is a body of work which pairs photographs of landscapes and territories in danger from mining and agribusinesses with portraits of the activists fighting to conserve them. In 2017, at least 207 leaders and environmentalists were killed while protecting their communities from projects threatening their territories. According to a 2018 report by Global Witness, most of these cases occurred in Brazil with 57 assassinations being recorded, of which 80% were against people defending the Amazon. Albarenga's series explores the bond between the defenders and their lands - a sacred area in which hundreds of generations of their ancestors rest. In the photographs, the main characters in the stories are seen from above, as though they are laying down their lives for their territory.

Coming from the Creative category, Pablo's series is a brilliant set of images that offers a powerful visual record of how deforestation goes hand in hand with the destruction of communities and peoples. In 2020 there were a number of extraordinary stories and sets of images that could have won the overall title, but Seeds of Resistance really stood out.

Commenting on his win at the time of the announcement Albarenga said: 'With this important award, I see two victories: first, the opportunity to tell the stories of the traditional communities of the Amazon by highlighting the people who are still fighting not only for their future, but for everyone's. We need to look beyond the trees, the oxygen and the "undiscovered" species of the rainforest. Secondly, that the photographer of the year award has landed in Latin America, a continent historically told through the eyes of foreigners. I hope that many more photographers from our region will continue to contribute with our voices, thus strengthening the amazing community of Latin American storytellers.'

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2020 Photographer of the Year Pablo Albarenga

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Pablo Albarenga won Photographer of the Year back in 2020 and we're delighted to see his works in print at the Sony World Photography Awards 2022 exhibition. Seeds of Resistance is a body of work which pairs photographs of landscapes and territories in danger from mining and agribusinesses with portraits of the activists fighting to conserve them.

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Pablo Albarenga has dedicated his work to investigating, studying, and photographing the colonization process that is still affecting traditional populations in Latin America.

These communities are being threatened by huge development projects who aim to exploit the rich natural resources available in these countries, such as minerals, wood, and extensive agriculture. Albarenga, who is originally from Montevideo, Uruguay, has photographed the occupations of the Guarani Kaiowá indigenous peoples, who are fighting to get back their traditional lands in the state of Mato Grosso do Sul in Brazil.

He has also photographed the massive indigenous camps in Brasília, where more than 3,000 leaders from every corner of Brazil travel to the capital in order to claim their rights. In addition, he documented Sonia Guajajara's journey as the first indigenous woman to run for the vice presidency of Brazil in the 2018 Brazilian general election.

Albarenga is a Pulitzer Center grantee and has won the National Culture Funds in his country, which he will use to produce his first photo book about the indigenous situation in Brazil.

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Pablo Albarenga: Exploring modern colonization through photography

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Pablo Albarenga has dedicated his work to investigating, studying, and photographing the colonization process that is still affecting traditional populations in Latin America. These communities are being threatened by huge development projects who aim to exploit the rich natural resources available in these countries, such as minerals, wood, and extensive agriculture.

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Today, McDonald's has flooded seemingly every nook and cranny of Planet Earth with cheap food served fast. In America, there's one on every corner, and their food tastes exactly the same in Miami as it does in Oakland. This strict adherence to zero variation, and the convenience of a quick and cheap meal in a world which can't seem to slow down long enough to cook dinner, has made it what it is today..... with a little help from advertising.

Let's travel through the years, shall we?

1960

McDonald's had been around for a couple decades at this point; but its original incarnation would be unrecognizable as a McDonald's today (it began as a barbecue joint). It wasn't until the arrival of Ray Kroc in 1955 that things started to take shape.

You'll notice from this 1960 advert with menu - no Big Mac, not even a double cheeseburger. In due time. In due time.

1961

This is the year that Ray Kroc bought all rights to the McDonald's concept from the McDonald's brothers (for $2.7 million). It was onwards and upwards from here.

1964

Take note of the funky logo. You'll also notice just the single arch in the early days as well. It wasn't until 1968 that the Golden Arches which we all know and love appeared.

McDonald's noticed Roman Catholics were nowhere to be found on Fridays and during Lent. For their fast food fix, they were going to Frisch's Big Boy and getting the fish sandwich. In response, McDonald's unveiled the Filet O'Fish and the Catholics returned to the Holy Arches.

1965

There's that funky logo again. This time McDonald's is bragging about delivering a name brand soda, instead of a generic or "lesser" brand. And so the unholy alliance between the two giants of the food industry is forged.

You'll also notice that they're bragging about how big they are. "We didn't get big by being small." Indeed, this would be the year McDonald's corporation went public. At this point they had over 500 stores.

1968

A historic year - the introduction of the mighty Big Mac. Sure, it looked and tasted a helluva lot like the famous Big Boy.... but the Big Boy wasn't fast food per se. Now a double cheeseburger with a Thousand Island dressing concoction was cheap and quickly delivered to your mouth.

You'll also notice the Golden Arches are the way they're "supposed to look." All is right with the world.

1969

Not the most photogenic kid I've ever seen, but the point is made: McDonald's is healthy. Throughout the 1960s, people rarely ate out, so an infrequent treat at McDonald's wasn't really a health concern (not to mention, American home dinner tables weren't exactly bastions of nutrition to begin with).

By 1969 there were 1,000 restaurants and, as the advert touts, "we sell over two million a day". Yes, McDonald's was beginning to become a big part of the American diet. Childhood obesity wasn't an issue yet, but it was time for a preemptively assure parents that this crap is good for you.

Also note that McDonald's recognized that their restaurant was a place to take your kids. They'd brought the creepy Ronald McDonald on board in 1963, but it was time to kick things up a notch and lure in the kids like the Pied Piper of Type II Diabetes.

1971

Two big things are happening in 1971. First, we have "The Big Meal"; sort of a larval stage Value Meal. No longer would you walk into a McDonald's and order a Big Mac and Coke and skip the fries. Those days are over.

This was also the year of "You Deserve a Break Today", their most successful slogan, one that would be used for years to come.

Note that Barry Manilow is often incorrectly given writing credits for this song. He did sing the jingle for a commercial, but he didn't actually write it.

1972

And thus, the Egg McMuffin is unleashed upon the world. (I almost get teary eyed when I write this.)

Another advert from '72. I stand amazed you could get all that for under $4.00. Also take note that McDonald's is finally targeting black consumers.

1973

Invented a year or so later, the Quarter Pounder found its way into American gullets in '73. Of course, countries on the metric system had a different name for it.... and the temptation to quote Pulp Fiction is irresistible:

Vincent: ...And you know what they call a Quarter Pounder with Cheese in Paris?
Jules: They don't call it a Quarter Pounder with Cheese?
Vincent: Nah, man, they got the metric system. They wouldn't know what the f**k a Quarter Pounder is.
Jules: What do they call it?
Vincent: They call it a "Royale with Cheese."
Jules: "Royale with Cheese."
Vincent: That's right.
Jules: What do they call a Big Mac?
Vincent: A Big Mac's a Big Mac, but they call it "Le Big Mac."
Jules: "Le Big Mac." [laughs] What do they call a Whopper?
Vincent: I don't know, I didn't go in a Burger King.

1974

Around this time, McDonald's gave its locations a facelift. The picture above was taken in 1974, yet it still has the antiquated signage. It was time for a redesign. It would be another forty years before McDonald's would take on such a massive upgrade.

1974 was also the year of "Two all-beef patties, special sauce, lettuce, cheese, pickles, onions on a sesame seed bun."

1975

Take a look at the size of that cup.... from the looks of it, that regular size looks smaller than today's small size. Today's American customer wouldn't know what to do with such a tiny container.

Also note that the massive transition from sugar based Coke to High Fructose Corn Syrup based Coke is underway. Let the childhood obesity commence!

In 1975-1977, McDonald's released a ton of advertising directed toward black consumers.

1976

"Do Your Dinnertimin' at McDonald's."

I've heard this particular advert described as "racist" (in particular, an article on Huff Post). I'm inclined to think there's a difference between trying to appeal to the vernacular of a group and actual prejudice.

1977

More afro-centric advertising. McDonald's definitely was on a mission.

If you were a kid in the 1970s, then you undoubtedly had a couple glasses in the kitchen cabinet from McDonald's. They'd soon align themselves with the Star Wars franchise, creating a marketing monster: massive promotion for the movie, and a massive incentive to get kids to beg their parents to chart a course for the Golden Arches.

The "funny shape" isn't so funny anymore. A couple generations have grown up on this stuff - this has become the "accepted shape" of hash browns.

1978

In '78 McDonald's fought to prevent their workers from joining a union. But it's all good - that same year, the sundae is added to the menu.

Lots of Styrofoam at the ol' McDonald's restaurant. It wouldn't be until the late 1980s that the McToxic containers became an issue.

1979

A new slogan is released: "Nobody can do it like McDonald's can." It doesn't have the same mojo as "You deserve a break today", but it worked well enough to use through 1983.

Here's the Glendale, California McDonald's crew from 1979. Despite the all the upgrades, McDonald's still looked like a diner in the 1970s.

An odd little giveaway from 1979. I can't even comprehend McDonald's handing out pens these days.

1980

Competition began to intensify for McDonald's around this time, and resulted in what's become known as the "Burger Wars". Wendy's ("Where's the Beef?") and Burger King started to gain real ground. These adverts are operating on the strategy that the actual food is better quality.

1985

The Burger Wars yielded the Value Pack - a direct ancestor to America's greatest love: the Value Meal. The Wars also forced McDonald's to diversify their menu further - and, hence, the McNugget was born.

1988

The McDLT was supposed to be healthier and better quality. The burger was served in an open Styrofoam container, with the bottom bun and meat on one half (which was hot), and the bun with the lettuce and tomato on the other half (which was cold). You had to then prepare it yourself. Needless to say, it was a failure.

McDLT aside, the company emerged from the Burger Wars stronger. Today, it makes around $30 billion a year and has restaurants around the globe. Indeed, chances are very good you're eating a fry at this very moment. Go ahead. It's okay. You deserve a break today.

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You Deserve a Break Today: 1960s-1980s McDonald's History in Advertising - Flashbak

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Today, McDonald's has flooded seemingly every nook and cranny of Planet Earth with cheap food served fast. In America, there's one on every corner, and their food tastes exactly the same in Miami as it does in Oakland.

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Thought-Provoking Satirical Illustrations by Pawel Kuczynski

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Polish artist Pawel Kuczynski creates thought-provoking illustrations that comment on social, economic, and political issues through satire. The

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Nike has done it once again. Massive uproar on social media talks all throughout the town and sparking major conversations across all media platform. The company's latest campaign "Dream Crazier" highlights all the accomplishments of women athletes, namely, Chloe Kim, the snowboarder who became the first female to land a Frontside Double Cork 1080; Ibtihaj Muhammad, the Olympian fencer who became the first woman to wear a hijab in competition during the Olympics; and not to mention, the narrator herself - Serena Williams.

The ad debuted on the festive night of this year's Academy Awards and depicts all the numerous stereotype remarks that women usually face; in context of all the athletes portrayed. "If we show emotion, we're called dramatic," she narrated. "If we want to play against men, we're nuts. And if we dream of equal opportunity, we're delusional. When we stand for something we're unhinged. When we're too good, there's something wrong with us. And if we get angry, we're hysterical, irrational, or just plain crazy." Created by Emma Barnett and Alex Romans at Wieden & Kennedy Portland, and directed by Kim Gehrig through Somesuch, the work serves as an epitome in terms of highlighting female athletes who have broken barriers, brought people together through sport and inspired the next generation time and time again.

With feminism and women empowerment being some of the most talked about terms of the recent days, the ad is in perfect alignment with the current target group's emotions and rationale. The campaign's predecessor - "Dream Crazy", starring Colin Kaepernick had gone haywire; sparking massive. While the new campaign has successfully managed to steer far away from the social media backlashes. Instead, it got appreciated by the target consumers for being blunt and precise with the core message. Because the ad constantly reminds us how feats like a woman running a marathon, boxing, dunking, coaching an NBA team or "winning 23 grand slams, having a baby, and then coming back for more" were all considered crazy - until somebody did it.

According to Nike's press release, Dream Crazier seems to be the pedestal standing on which the previous generations of athletes are about to take the step forward - "The year-long journey to inspire the next generation of athletes to Just Do It enters into its next phase with the Dream Crazier spot". It also mentioned, "Nike continues to champion female athletes and change the game for women in sports as it has for more than 40 years-inspiring and enabling female athletes of all levels to achieve their potential in sport and fitness."

The company has already adopted a very well thought out, strategic move by launching the campaign during the Academy Awards, one of the most-watched TV events of the year, was a strategic move by Nike, as it was likely able to reach a wider audience base on cable TV. This year's Oscars broadcast saw ratings rebound, with an audience of 29.6 million, according to Deadline. Viewership was up 12% over in 2018; which certainly proves that Nike has already been able to give the new campaign certain leverage in terms of getting it closer to the right audience.

The immense success and positive reception of the ad certainly point out the fact that consumers continue to respond positively to brands that focus on women's empowerment and breaking down gender stereotypes. According to a survey by Choozle, more than one-third of the consumers have stated that they like a particular brand when its marketing rallies against gender stereotypes. And one-fourth of the surveyed consumers have stated that they are more likely to purchase products of that particular brand for that very reason. Another research by Accenture has uncovered the fact that 63% of the consumers prefer to conduct purchases from brands that support a purpose that aligns with their own values. Besides, with the advent of social media, Gen Z and millennials have started to perceive brands as key agents expected to take a stand on social and political issues.

In true Nike fashion, the brand has stepped out of their comfort zone and has proved how making a political or social statement can in fact be leveraged and used as a winning strategy to increase mind share; and not to mention market share. Nike has reported "record engagement with the brand" after Colin Kaepernick led "Dream Crazy" campaign last year, despite drawing some controversy and calls to boycott the brand. According to an analysis conducted by Edison Trends, online sales for Nike has increased 31% over Labor Day weekend 2018. The campaign also helped Nike see a 2:1 ration of earned media to paid media, according to Kantar Media. Nike reportedly spent about $4 million on paid TV ad buys for the Kaepernick campaign, but generated $7.6 billion in earned media value as a result. While the "Dream Crazier" ad does not have such a roller coaster ride in terms of creating an uproar, industry veterans are expecting that this is set to help Nike good numbers in terms of sales and generating positive word of mouth across multiple channels.

With humble beginnings in 1964, it is indeed fascinating to sit back and realize how far Nike has come. The "Dream Crazier" ad can be perceived to be an embodiment of the actual brand itself - shunning from all the backlash, going against all odds, rising to the occasion and eventually shooting for the stars. This campaign surely provides Nike a good, nurturing ground to brainstorm and portray ideas which challenge the social norms and can unite their consumer groups to act as a catalyst in raising conversation and awareness about a common cause.

Women athletes have been around us for decades. They have aspired, represented their nations and achieved remarkable feats that few us can even dare to imagine. Nike has picked the perfect story-line to continue the "Dream Crazy" plot. Even the portrayed characters could not get any better. For when we support our women, we support our world.

Here are some more articles from Campaign Corner:

NOTABLE CAMPAIGNS OF INTERNATIONAL MOTHER LANGUAGE DAY 2019

CREATIVE CAMPAIGN MASTERPIECES OF 2018

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A CLOSER LOOK AT NIKE'S "DREAM CRAZIER" CAMPAIGN

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By FARHAT ZISHAN Nike has done it once again. Massive uproar on social media talks all throughout the town and sparking major conversations across all media platform. The company's latest campaign "Dream Crazier" highlights all the accomplishments of women athletes, namely, Chloe Kim, the snowboarder who became the first female to land a Frontside Double [...]

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Living with War

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Find out how Dove plans to encourage women to redefine beauty with their newest social media campaign, #RaisetheBeautyBar.

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10 of her best known photos