#Air Jordan VI

[indeedgoodman]

[snkrbonbon]

[jinsei-pika-pika]

Michael Jordan (1991)

[freshthoughts2020]

[kibun-niji]

[insoleunfiltered]

Air Jordan 6

Release Date : 2024

Color : White/Yellow Ochre-Black

Mens : $200

Grade School : $160

Little Kids: $100

Infant & Toddler : $85

[queeranarchism]

"The quote is from Les Damnes de la terre (Wretched of the Earth), and can only be understood in the context of the fuller argument Fanon is making: “Colonialism is not a thinking machine, nor a body endowed with reasoning faculties. It is violence in its natural state, and it will only yield when confronted with greater violence.” No one can deny Fanon’s brilliance or his pioneering and profound understanding of the psychological effects of colonial violence on the colonised and the coloniser (as a psychiatrist, he treated French colonial officers and Algerians alike and found them to suffer similar psychiatric ailments). But the second and more famously quoted part of Fanon’s argument is not comprehensible without the first part, and the first part – especially in the Israeli context – is in fact profoundly wrong. Colonialism, especially settler colonialism – and even more particularly Zionist settler colonialism – is very much a “thinking machine” with very powerful and longstanding logic and rationalities that are the key to its success. Because of this, considering what “a greater violence” would look like and how it can be measured, never mind achieved, is a crucial task for those analysing and fighting colonial violence alike. I have yet to see any plausible scenarios in which Palestinians acquire the means to deploy “far greater violence” vis-a-vis Israel/the Zionist entity for any length of time in any conceivable geostrategic balance of power. Even if Iran (the only major power that supports Palestine in any meaningful way), for example, wanted to deliver heavier weapons to Palestinians, Israel’s control over access points, as well as Egypt’s and Jordan’s, will prevent that from happening. Palestine is not Ukraine, supported by major powers and able to utilise land, water and air corridors to obtain an unending stream of weapons deliveries to fight a much larger and better-armed adversary. Quite the opposite, in fact. More broadly, Palestine today is not Algeria in 1956, which was Fanon’s most important reference point. Nor is Israel France, with a metropole to which settlers can return (unless we consider Tel Aviv the metropole). There will be no long-fought war of independence resulting in the vast majority of Jews leaving à la française a reconquered Palestine. But there are several scenarios that could lead to a redux of the Nakba, as many Israeli politicians are now screaming for. [...]

Indeed, for over 50 years of occupation, and 30 years of the post-Oslo Palestinian “self-rule” rather than “the native cur[ing] himself of colonial neurosis … through force of arms”, what has occurred (as I learned in interviews with therapists at the few mental health centres in Gaza as far back in the later 1990s through 2000s) is the passing on of trauma, with former Fatah prisoners tortured by Israel torturing Hamas members using the same techniques as the Israelis used on them – often screaming at their victims in Hebrew while torturing them in the very same rooms where they were tortured. Hamas has continued this cycle in the two decades of effective control over Gaza. And now we see this with crowds cheering kidnapped, beaten, and murdered Israelis. Whatever catharsis this constitutes, it is not one that will lead to victory over an Israeli society that has been using violence against Palestinians as its own traumatic catharsis for 75 years, in a world that has a very high tolerance for Palestinian civilian casualties, with most people in the West still supporting Israel whenever there is a high level of Israeli Jewish casualties. [...]

Tragically, Fanon died in 1961, a year before Algeria achieved independence. He did not live to see the realities of postcolonial politics in Algeria, or across Africa for that matter, where, as Kenyan novelist and decolonial thinker Ngugi wa Thiong’o has so powerfully showed, leaders of newly independent states almost immediately began treating their peoples in much the same manner as their former colonisers (a phenomenon also experienced with the Palestinian Authority and Hamas since Oslo). Forty years ago, when he was describing this dynamic of postcolonial governance in his groundbreaking prison memoir Wrestling with the Devil: A Prison Memoir, Thiong’o used the term “neocolonial” – not to indicate the continuation of European control by other means, but rather to describe how anticolonial leaders adopted (and adapted) the same brutal and authoritarian techniques of rule as their colonisers to cement and maintain their power; a critique of the “coloniality of power” that is today at the heart of the ever more popular decolonial thought. That coloniality of power fundamentally will never allow for anything approaching actual independence for Palestinians, neither via the neocolonial PA nor with Hamas at the helm. If Palestinians are to defeat Zionist colonialism, it will likely take a much different sort of analysis of its violence and power than Fanon offered three-quarters of a century ago, and it will probably require a paradigm shift in the core concepts of what a nation, freedom and independence are at a moment when the entire world, not just Palestine/Israel, is heading towards conflagration.

read the full article

I really like this column. When western media is mindlessly parroting Israeli propaganda and western far-leftists (myself included) are primarily listing all the evils of the Israeli state to make it clear who the real bad guy of the story is, there's very little practical discussion of what is actually happening and what could come next.

[willowuponavon]

Thinking about “Decameron” again and the merits of a limited tv show that is written to work in the frame of its form. It doesn’t need to be able to stretch into seasons, make moments into episodes. It can just be, existing, perfect in its length. Not rushed nor too long.

I also have even more thoughts about the show under the break

I finished watching “The Decameron” (2024, created by Kathleen Jordan), and after a three day binge watch it may be my new comfort tv show. It was funny, compelling, full of emotions from romance to hatred. There were false identities and plots afoot. All of these combined to create such an engaging story of a group of nobles and their servants stuck in a rural villa as the Black Plague ravages the cities. In ten days (the show’s namesake), all the plots collide messily and the plague and mortality loom over them all. This show is a must watch for those who love a gritty dark comedy, laughing in the face of death, a sprinkle of sexy romance, and of course seeing nobles all fall apart.

I loved this show, mostly because it reminds me of “The Great” (2020, created by Tony McNamara). There are the same dirty and crude humours of any historical (or semi-historical) satire, not covering up the foul conditions of the time period. The gruesome reality becomes the foundation for jokes, and there are many. From flowers clearing the bad air that causes the plague, to falling down a well to test God, to affairs and vies for titles. The sheer amount of drama packed into this eight episode limited series is astounding, yet it does not feel rushed.

The characters have time to develop, sinking deeper into their sin or rising above their class rank. We come to love each of them in their own unique way, and they are unique. Each character is distinctly their own, each worth loving and wanting to see win. We track them each at their time in the villa, chasing their own desires (many times no matter the cost). The stakes feel well established, what each has to risk and what secrets they all have. Which is why I think I found this show especially loveable. There are many plots and secrets thrown about, and while the other guests of the villa do not know these, we as viewers do. We are not unclear about actions or motivations, and humour arises from how characters act versus what we know (like trying to win the affections of someone long dead). This juxtaposition of how knowledge is shared makes this show unique. We are not in the dark with the characters, but omnipresent watchers, merely along for the ride, seeing every sinful act and dirty detail.

I have even (even) more to say here:

[awstenlookbook]

For the final Property Tour show at the Octagon Centre in Sheffield England, Awsten wears Air Jordan Flight MVP Fleece jacket in infrared (originally $125, no longer available). Later during the show he took off the jacket to reveal a custom printed shirt featuring fanart of himself, painted by sian.philpottx & lent to him for the show. He cropped the shirt himself for the show.

He pairs them with Firm Grip high vis utility gloves in yellow ($12.97), Dr. Meter noise cancelling kids' earphones in green ($23.99), and Urban Outfitters Baldwin Leather Boot in black (originally $99, no longer for sale). He has cut the fingers off the gloves and customized the headphones with "GET" "LOST" written on the earphones.

📸Instagram: maggsvisuals for slamdunkleeds

📸Instagram: flynnhorton

[risposte-e-reblog-randagi]

...a tutti i gggiòvani che c’hanno il boomer facile, non appena uno di noi nati prima si dimostra poco a suo agio con l’ennesima nuova app, o non capisce un neo-logismo figlio d’un incesto tra il uéb, l’inglese ed il napoletano, voglio dire che ok, fate pure, sottolineate quanto è nuovo questo mondo e quanto vi appartiene, ma mettete giù i Nirvana, i Queen, i Metallica, The Cure...posateli pure lì sul tavolo grazie, e tenetevi la Trap...e mentre ci siete, restituiteci la Vespa della Piaggio, quella vera, e le Chuck Taylor, le Air Jordan, le Adidas Superstar e pure le Gazelle...oh, e smettetela di citare Bukowski, anche, o Ada Merini, fatevi bastare i vostri influencer...che ne dite?

[indeedgoodman]

[snkrbonbon]

[jinsei-pika-pika]

[freshthoughts2020]

[a-tarassia]

Se volete sapere come andrà davvero e quindi com'è andata e come continua per sempre allora vedete Mad God e rifatevi una religione.

Ultimamente non ci sono, ma:

Skinamarink horror classico, regia sopra le righe, inquadrature ansiolitiche. Però proprio da back to the roots, non roba horror da A24. Fa paura.

The Covenant, ultimo di Guy Ritchie, non mi ero mai accorta che Gyllenal fosse un cane a recitare. Fate voi. Inutile il film, storia scritta male e diretta peggio, recitazione improponibile.

Sisu. John Wick più surreale, in Lapponia, nella seconda guerra mondiale.

John Wick 4. Cazzotti, sparatorie, scale. Finisce? Boh. Il solito. C'è una sequenza omaggio a The Warriors, per me film capolavoro, quindi grazie.

Air. Micheal Jordan e le sue Nike, oppure quelli della Nike che s'inventano le scarpe di Micheal Jordan. Per me che non so niente di scarpe e basket mi ha trovato così come mi ha lasciato. Indifferente.

Succession, serie TV. Ne parlano tutti e a ragione, prodotto tecnicamente magistrale, dettagli, scrittura, personaggi eccezionalmente costruiti, ti fa provare rabbia e allo stesso tempo pena e empatia per gente terribile. È comunque una saga familiare di quelle che ne abbiamo viste mille, però l'esercizio di stile è immenso. Lo finisco e vi dico se entra nella mia top antologica.

Bacchus, fumetto. Lungo, fantastico. Lungo. Non lo finirò mai.

Camperizzazione furgone. Frustrante, stancante. Eccitante. Stupendo mi viene il vomito.

[sneakerheadsclothingline]

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