#fashion fag digest

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WORDS FROM THE QUEEN

[Originally published in Fashion Fag Digest Volume 3, Issue 4, Number 9, 1997]

My spirit is restless

my heart uneasy,

mind edgy.

I am at a crossroads,

a new branch,

a new root.

I feel the energy of change

move through my body like quicksilver

ever moving elusive not,

letting me move,

making me indecisive scared.

Scared of what might,

what might not,

scared of what could,

and could not.

Unresolved issues,

uncried tears,

unhurt pain.

Neutral surviving,

trying to keep my lungs clear

of the water that bogs

so many of us down.

Eyes on the prize,

try not to forget

why you tolerate this mess

why you must not give up.

It can win,

you can't win,

your self destructive,

self loathing,

hateful side

can't win.

Control,

we need it

I have it,

but no one can control emotion

and I am a fool for trying?

Maybe if I don't go there,

we don't touch that.

The hurt will go away

the pain fade,

the anger subside,

the bitterness abate.

I will keep on movin',

don't stop,

express myself,

not repress myself,

be young Black and gifted,

be brilliant,

if not for anyone else's sake

maybe just my own.

Welcome to the Poetry issue, as much as I would like to say that I am not a poet. I can't deny the words that God blesses me with. This issue is about coping and movin' on. The poems, reflect my journies and my love of the Black Woman.

Alot of you expressed that you felt very, unfulfilled and wanted more from the last issue, specifically from the stories Betrayed and When God. So I decided in this issue to tell the rest of the story and tie it up. Check out Reprimand, where I tell their side of the story.

I am particularly proud of my maturity as a layout artist, and especially our new logo. Enjoy and please let me know what you think. I want to bring back the letters page but I can't with out your participation.

Peaceful Journey in the new year.

Miss Trevah

[Afterwords: My nephew sends me a video meme of Wendy Williams attempting to gather her thoughts to say something and is just stumped, astonished and wordless, as the camera still rolls. This is how I feel after just reading this Letter from the Editor from my second and I believe final issue of Fashion Fag Digest.

I have done minor edits, added a missing word, and did line breaks more appropriate to a poem which I couldn't do in the original issue due to space constraints. As I read the piece aloud I could remember my reading the piece aloud before, its so weird how memory works, just saying my own words, connected me to the last time I said my own words nearly thirty years ago.

It wasn't exactly goosebumps, or the walking on of my own grave, but a mental connection to the past that occurred in a flash, as I recalled that albeit I was awful at proofreading, I did read my pieces aloud before finally publishing them. I needed to make sure the voice I heard in my head sounded the same when actual spoken, that the feelings, and whispers were all collected, collated and demonstrated on the written page.

Once again I am amazed at the word-play and the intermixing of pop culture references, which since I made them I immediately get. This space is meant for me unpacking my thoughts and feelings from my past, lets take a brief moment to isolate a few of the references giving them a bit more context.

Eyes on the Prize - is a documentary history program on PBS, they had a very catchy opening song from the civil rights movement attributed to Alice Wine from Johns Island, South Carolina. I knew none of that at the time I wrote this but my paternal heritage is from the sea islands of South Carolina amongst the Gullah and Geechee people. I will always say I am of Gullah/Geechee descent but never actively practiced the culture myself so do not consider myself Gullah Geechee.

"Cause it's all about control, and I've gots lots of it." - I have made abso-smurfly no attempts to hide that I am a huge Janet Jackson fan, I have personally collected all of her studio albums on vinyl. My line which wasn't a direct quote from her but was inspired by her lyrics on my go-to dance song in high school.

"...keep on moving. Don't stop like the hands of time" - Another lyric this time from another eighties song by the group Soul II Soul. I used just a piece of the song in my poetic flow. I did this because this is how my brain works, if I hear someone say something, sing it or write it I automatically flash to the reference I have in my head ergo I decided to share this inner dialog outwardly.

Express yourself - I shouldn't even have to say this, but this is obviously a Madonna reference from her famous song of the same name. So that was three parts Black, one part queer, that sounds about right in an exploration of who I am, and what I present to the world.

A poetry issue that honors my love for Black women, say what now? #MicDrop

Curiously I actually look forward to re-reading this issue or maybe just skimming it, because I set a lofty goal and I am really curious if I actually accomplished what I set out to do. This is a time of me acknowledging and embracing the creativity that I have always had, but had trouble fully recognizing and realizing. I think my peers saw it and this is part of what created the allure of Trevor Brown. I am not going to say that I didn't realize my own greatness, but I feel that that can be embraced and accomplished in a number of ways not just one that results in financial renumeration.

The feeling of pride that I now have is more than enough actualization in my opinion. The ultimate goal should be self-love and acceptance, I am overwhelmed with all the love I am feeling for myself and my very creative and brilliant mind. Once again I wish there had been someone around to nurture this because it truly could have become something bigger than what it was. Even in its smallness it was impactful the things that I attempted to share and disseminate into the world around me.

I want to be that encouragement that I never had to the young folks around me, pushing them to become their best-selves to lean into their own interest and creative revelations, to acknowledge there is no one like them, and what they have to offer has value. I just wish our society placed significance in how amazing the small things are, and the power they have, even if just to effect one life.]

[Photo by Brown Estate]

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Business Essentials in the Maldives

Task 1 Analysis of the Maldivian rescue and force the major economic activities.\nThe Maldives is a country that consists of 1190 coral islands approximately, which coers everywhere 90000 Sq Kilometers of the huge Indian Ocean. The ceiling City Male has over one third of the completely population. Maldives holds a relatively new-fashioned population as somewhat 41 portion is shargond by the great unwashed at a lower place 15 historic period of season and about 3 percent is shared by people above 65 years of age.\nLike new(prenominal) weeny countries, maturement of the Maldives is also limit due to the absence of resources on land, the limited opportunity for lengthening of the agriculture zone, and sensitivity to environmental threats and natural calamities. Economy of the Maldives is enormously dependent on touristry and fisheries industry as they are the major cause of overseas exchange income and government earnings. When it comes to employment, these devil i ndustries account for about more than than one third of the do working population as per the 2000 census reports. The less numerate of educated fag in the Maldives has led to the growth of a higher expatriate labor force. Therefore, expatriate workforce has compete a springy mathematical function in the economical development of the Maldives.\nThe development stages of the Maldives have been approve by the Government, the hidden parties and unlike contributors. The government mainly targeted on providing attend tos to fulfill raw material human needs, while private parties has contend a vital government agency in the progress of tourism, trade, fisheries and transport industry with other activities. Foreign assistance has played a key role in the development economy also. During the recent years, almost 70 percent of the development cognitive process was financially assisted by foreign donors.\n?\nTask 2 Identify a phone line and conduct following digest\n1. A brie f insane asylum of the business.\nDhiraagu\nDhiraagu was found in 1988 as the Maldives first telecommunication service provi..

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Martin Parr Made Me Do It.

A critical essay about Martin Parr. 

Martin Parr was the first photographer to inspire me and continues to be the biggest influence on my photography. Martin Parr has a unique and dividing approach to the genre. Concentrating mainly on documentary photography he has developed an international reputation for his innovative imagery of society and his input to photographic culture within the UK and abroad.  

It was the context of his photography that first spoke to me. His work explores the ordinary, mundane and everyday. He has studied national and international societies, exploring leisure, consumption and cultural peculiarities for several decades. His images explore how we live, how we present ourselves to others, and what we value. To me this is more meaningful than a romanticized, technically perfect shot of a subject I have no relationship with. We are often looking for a political message in documentary photography. As Susan Sontag said “Unfortunately the antes keep getting raised” (Sontag, 1979) as if to say photography has lost the power to shock and therefor we are always looking for more disturbing images to fulfill our rubbernecking but sometimes these images are so far beyond our real lives they are a fraudulent example of politics. What is more important than our own lives and cultural politics, values and place in society? After all, we still struggle to speak to a disabled member of our community without a prime time TV adverts from Scope giving us a “How to Video.”  

Martin Parr explains that “Most photographers are very attached to things that are exotic, and to people who are in extreme and dramatic circumstances. But I truly believe that the ordinary is much more interesting than people make out. We are so familiar with it and familiarity breeds contempt, but when you go to something like a supermarket or an Argos, or a shopping mall, they are quite extraordinary places.” (Ordinary lives, extraordinary photographs, 2004). I have always instinctively photographed the unextraordinary and Martin Parr's approach gives me confidence that this is ok and has a power all of its own.  

The series “One Day Trip” from 1988 documents the English on a trip to France. The images show shoppers in a duty-free supermarket in Calais. The people appear desperate, the trolleys are full to the brim with duty free and rival shoppers frantically grab cheap beer and fags. The series for me says a lot about consumerism, greed, our culture and class system. It is a real shame that our economy means it is cheaper to travel over the channel to afford our vices and we are willing to push and shove to get the best deal.

Martins Parr's work is often described as grotesque and exploitive and was famously criticised by the French photographer Henri Cartier-Bresson, who took a dislike to the attitude expressed in his pictures. He complained Martin Parr seemed to come from a different planet. Parr replied, admitting that their photographic visions “differed“ – but added, “Why shoot the messenger?” (And your spat with Henri Cartier-Bresson?, no date). I don't believe Martin Parr is speaking an alien language and if he is I am also fluet. As he stated he is a “messenger” and just delivers the truth. I believe his approach is to show us, without any magic tricks or apologies, the real world. He subtly interjects his own opinion and thought into his photographs to show us how he sees the world, then challenges us to see it differently as well but essentially we are free to make our own truths from that.

Martin Parr enables us to see things that have seemed familiar to us in a completely new way. This has strongly influenced my own work. I am very inspired by the diversity and the uniqueness of humans and how we relate to one another. Martin Parr puts the underdog in the spotlight, he empowers and treasures people's eccentricities. This idea is particularly important in my work with social care and my desire to make disabilities more palatable.

After a short stint with black and white film in his early career Martin Parr begun to use colour and it is this use of colour that has given him a unique visual language. He has used both film and digital but they are both always accompanied with lots of flash. He uses both a ring flash and flash guns to give a very bright saturated image with a very even shadow. This method has been criticised as it does not adhere to many photographers ideals of a perfect photograph. In his work there is little use of light and dark and no obvious emotions conjured up by moody black and white film. I can see how this is unacceptable to someone concerned with technical photography and a desire for images that spoon feed you a feeling but I don't believe documentary photography requires this. I believe it is important to document the truth and Martin Parr delivers the truth with no complications. His method shows a simplistic way of articulating an idea. His relaxed approach to technicalities has influenced my own work, I often find if I worry too much about technicalities I miss the subject and the most important part of the story.  Martin Parr said “With photography, I like to create fiction out of reality.” (Parr and Smith, 2009). So If we look at the world like a soap opera full of characters sometimes light can be a character that steals the limelight of the main one.

Martin Parr again uses less traditional rules when it comes to composition. The characters and subjects in his pictures stand boldly centre stage, he gets extremely close to his subjects, uses a macro lens and doesn’t ask for permission. The result gives the viewer a sense of ‘being there’ in the midst of all the action and a feeling of inclusion. Martin Parr has done a lot of close up shots of food throughout his career. This work for me brings focus to the animate object and uses it as a tool. It is a simple way to describe a greater idea. For example the juxtaposition of a lovingly made home-made cake set against a commercial bakers bulk bakes tells a story of the consumer society. This magnification of animate objects to tell a story has inspired me to find my own way to explore identity. It has been especially difficult to document social care due to dignity and safeguarding policies so I am inspired to explore the use of objects as a means of communication.

Martin Parr's work can be very nostalgic. His shoots often look like they belong in a family photo album. The bright, garish colours emphasise the Kitsch qualities of our culture and makes us sentimental. His series “Last Resort” evokes memories of childhood holidays. This approach, his subjects and uncomplicated techniques make his work comforting. He is an advocate for accessible photography, he believes that photography should be technically limitless and digestible for everyone. He is very active in educating and championing young photographers. This attitude is valuable. It is important we make photography accessible to a wider audience, especially the disabled community where by image is the universal language and it can be a valuable tool. I always found photography intimidating and perceived it as a privileged practice that you could only participate in if you could afford the expensive most equipment and luxury locations to document. However Martin Parr has been a hero to me as I can engage in his work and feel I've been let into the VIP lounge. He has given me the tools and permission to continue to find ways of telling my stories and those of others.

Magnum photographer Alec Soth referred to Martin Parr as the “Jay-Z of documentary photography. Parr's presence can be felt everywhere in the medium. He is, hands down, the hardest working photographer I know.” (StarTribune, 2016). Whilst continuing to make personal work, exhibits in galleries around the world and publish many books he has explored filmmaking, advertising and fashion. Through this broad spectrum he can reach a wider audience. His photo books are tangible and accessible, his work with Henry Holland champions real fashion and is more relatable and his work with the BBC brings art to the masses. Martin Parr  is a huge inspiration for myself and paved away for many other photographers, such as Nadia Lee Cohen. She too draws inspiration from culture, uses bold colour and Martin Parr's narrative style. Consciously or subconsciously Martin Parr’s photography has made a great impact on visual art and culture. His approach to photography may have contributed to the current rejection of perfection in the media. Bex Day and her magazine Pylot are examples of photography and publications that encourage a more unadulterated aesthetic in the industry as “we are coming to live in a world that has become far too superficial and unrealistic” (Bex Day(Bedei and Glammonitor, 2015).

Whether you love him or hate him he has made an impact on the world of image making. His accessibility has made him a voice for the people and has given me the confidence to make me do it.

Bibliography

And your spat with Henri Cartier-Bresson? (no date) Available at: http://www.martinparr.com/test/faqs/and-your-spat-with-henri-cartier-bresson/

Bedei, C. and Glammonitor (2015) How real, unretouched models are dominating the fashion industry. Available at: http://uk.businessinsider.com/how-real-unretouched-models-are-dominating-the-fashion-industry

Ordinary lives, extraordinary photographs by Gayford, M. (2004)    Available at: http://www.telegraph.co.uk/culture/3615454/Ordinary-lives-extraordinary-photographs.html

Parr, M. and Smith, P. (2009) Martin Parr: Luxury. London: Chris Boot.

Sontag, S. (1979) On photography. London, United Kingdom: Penguin, [1979]

StarTribune (2016) A photographer’s-eye view of Martin Parr. Available at: http://www.startribune.com/a-photographer-s-eye-view-of-martin-parr/140231463