We see here Yolandi Visser completely undertaking her role as ”Mumma” as it is required in the movie”Chappie”. This was filmed way backthough when Yolandi was pregnant with her beloved daughterSixteen Jones
Die Antwoord , a South African rap group formed in Cape Town in 2008 formed by rappers Watkins Tudor Jones a.k.a Ninjaand Yolandi Visser, and producer God (formerly referred to as DJ Hi-Tek), turned out to be this very strange concept that has to be understood from a very sarcastic second degree. I’m not a huge fan of the movie ”Chappie” as such, it’s entertaining but to me these guys represent something more than what meets the eye… That’s partly why I wanted to propose something very different and experimental that shows another side of what they really are about. Just dig a litte deeper the music done by Watkins Tudor Jones under various names, go past the first degree in their clips, and maybe you will see what I mean… So, here it is for….
Seventies nostalgists will have a field-day and the rest of us can marvel at a set of kids who were so cool they literally flew. Possibly the best documentary about youth and sport since Hoop Dreams.
There are those who believe that documentary’s place is on the small screen. Dogtown And Z Boys effortlessly proves them wrong – factual movies can be as exciting, slick and accessible as any other species of celluloid.
Stacy Peralta’s film is an exuberant, nostalgic paean to a time, place and a lifestyle. A founding member of the Zephyr Team (Z Boys), Peralta traces the history of the skateboard from its early years as a stalled ’60s fad, through to his friends’ reinvention of it as an extreme sport with marketing deals and corporate sponsorship. Quite a trip for an activity that only began when the inventive beach-bums found themselves with nothing to do when the surf blew out mid-morning.
There’s an engaging rebelliousness to the use of California’s infrastructure – the towering waves of playground asphalt and the empty swimming pools of the vacationing middle classes – for a purely hedonistic kick. Peralta matches that kinetic creativity with dynamic, imaginative use of his archival material.
His camera hurtles across the still images, while Sean Penn’s deadpan narration, complete with coughs and splutters, is perfectly pitched. It’s hardly an unbiased film – it concludes with a sell-out to corporate America and the gentrification of Dogtown’s once seedy beachfront. But who doesn’t re-edit their own history?
What comes across most poignantly in Peralta’s minor masterpiece is the sheer joy of being a member of the coolest gang on the beach, as remembered – and embellished – by a generation of fortysomethings for whom, you suspect, life has never been anywhere nearly as good. A genuine must-see.
Penelope Spheeris’ documentary on the Los Angeles punk scene. Filmed between December 1979 and May 1980, featuring Alice Bag Band, Black Flag, Catholic Discipline, Circle Jerks, Fear, Germs, and X was this was the first of aserie of 3 ”Decline movies”.
Featuring interviews, live concert footage, and a feature on how punk was transformed from a trend to a way of life, UK/DK is a comprehensive look at the skinhead/punk movement. Some of the most notorious bands on the scene are featured, including The Exploited, The Vice Squad, The Adicts and many more bands from UK.
Veteran documentary filmmaker and hipster Lech Kowalski creates this film about his friend and hard-partying rock god Johnny Thunders,member of legendary proto-punk band the New York Dolls. Through archive footage and interviews with such musicians as Dee Dee Ramone and Sylvain Sylvain, the film details his stint with the Dolls, the formation of his other band, the Heartbreakers; his rise to fame, particularly in Japan; his descent into heroin addiction, and the mysterious circumstances of his death in a New Orleans hotel room in 1991. Born to Lose: The Last Rock ‘n’ Roll Movie also contains some rarely seen concert performances in Max’s Kansas City and the Mudd Club. The photo on the poster is by photographer Marcia Resnick.
From the interviews with seminal bands in their earliest stages, D.O.A features live performances by the Sex Pistols, The Dead Boys, Generation X (with Billy Idol), The Rich Kids, the X-Ray Spex, and Sham 69, with additional music from The Clash, Iggy Pop, and Augustus Pablo to the live coverage of the first Pistols show in America, ”D.O.A: A Rite of Passage” is thus far the ONLY film to truly capture the feel, spirit and philosophy of the era. A near-comatose Sid Vicious is hilarious, as is the truly terrible, ersatz punk band Terry and The Idiots, whose leader is interviewed about the scene throughout the film. The depictions of a very bleak, “no future” England sum it all up as succinctly as the music itself.
Jubilee is a 1978 cult film by Derek Jarman heavily influenced by the 1970s punk aesthetic in its style and presentation. Shot in grainy colour, it is largely plotless and episodic. Location filming took advantage of London neighbourhoods that were economically depressed and/or still contained large amounts of rubble from the London Blitz during WWII. Unlike the others this one is really a movie, not a documentary and that is why I thought it would be interesting to include it on the list. The Plot:When Queen Elizabeth I asks her court alchemist to show her England in the future, she’s transported 400 years to a post-apocalyptic wasteland of roving girl gangs, an all-powerful media mogul, fascistic police, scattered filth, and twisted sex. With Jubilee, legendary British filmmaker Derek Jarman channeled political dissent and artistic daring into a revolutionary blend of history and fantasy, musical and cinematic experimentation, satire and anger, fashion and philosophy. With its uninhibited punk petulance and sloganeering, Jubilee brings together many cultural and musical icons of the time, including Jordan, Toyah Willcox, Little Nell, Wayne County, Adam Ant, and Brian Eno (with his first original film score), to create a genuinely unique, unforgettable vision. Ahead of its time and often frighteningly accurate in its predictions, it is a fascinating historical document and a gorgeous work of film art.
Fresh from making his cinematic debut with The Great Rock ‘n’ Roll Swindle, director Julien Temple wrote and directed this short promotional film Punk Can Take It for punk band the U.K. Subs. The promo mixed live performances—shot during the U.K. Subs’ tour to promote the single “Stranglehold”—with a comedic pastiche of Temple’s source material—a Second World War propaganda film London Can Take It, which had shown the plucky Londoners’ resilience to Germany’s bombing campaign. In Temple’s film the U.K. Subs provided the “symphony of war” while Eddie Tudor Pole and Helen Wellington-Lloyd are embattled punks fighting for victory against crass blood-sucking commercialization of the music they love. The U.K. Subs (short for “Subversives”) were among the original bands who led the British punk charge in 1976. Still performing and recording today, this film captures the Subs at an early high point in their career under the pairing of Charlie Harper (vocals) and Nicky Garratt (guitar) who created a blistering output between 1979-1982.
If you were disappointed by the shitty CBGB’s movie made a couple of years back starring Alan Rickman, then you will get a better sense of the energy, talent and musical revolution that took place at CBGB’s in the mid-1970s with this hour-long TV documentary Blitzkrieg Bop . Focussing on The Ramones, Blondie and the The Dead Boys, Blitzkrieg Bop mixes live performance with short interview clips and a racy newscast voiceover. It’s recommended viewing.
Punk: Attitude is a film by Don Letts. It explores the “punk” revolution, genre and following from its beginning in the mid-1970’s up to its effect on modern rock music and other genres. The cast is a veritable list of alternative musicians and directors offering their opinions on what has been called a musical revolution. One of the film’s celebrated attributes comes in the form of its cast, showcasing the who’s who of punk tock/alternative culture contemporaries like David Johansen, Thurston Moore, Henry Rollins, Captain Sensible, Jim Jarmusch, Mick Jones, Jello Biafra, Siouxsie Sioux, and Darryl Jenifer.
From Lemmy filmmaker Wes Orshoski comes the story of the long-ignored pioneers of punk: The Damned, the first punks on wax and the first to cross the Atlantic. This authorized film includes appearances from Chrissie Hynde, Mick Jones (The Clash), Lemmy and members ofPink Floyd, Black Flag, GNR, the Sex Pistols, Blondie, Buzzcocks, and more. Shot around the globe over three years, the film charts the band’s complex history and infighting, as it celebrated its 35th anniversary and found its estranged former members striking out on their own anniversary tour, while still others battle cancer.
Jarmusch has commented: “No other band in rock’n’roll history has rivaled The Stooges’ combination of heavy primal throb, spiked psychedelia, blues-a-billy grind, complete with succinct angst-ridden lyrics, and a snarling, preening leopard of a front man who somehow embodies Nijinsky, Bruce Lee, Harpo Marx, and Arthur Rimbaud. There is no precedent forThe Stooges, while those inspired by them are now legion.“He added that the film “is more an ‘essay’ than a document. It’s our love letter to possibly the greatest band in rock’n’roll history, and presents their story, their influences and their impact, complete with some never-before-seen footage and photographs. Like the Stooges and their music, ‘Gimme Danger’ is a little wild, messy, emotional, funny, primitive, and sophisticated in the most unrefined way. Long live The Stooges!”
A movie by Ullie Lommel featuring Richard Hell,Andy Warhol and Carole Bouquet. Nada, a beautiful French journalist on assignment in New York, records the life and work of an up and coming punk rock star, Billy. Soon she enters into a volatile relationship with him and must decide whether to continue with it, or return to her lover, a fellow journalist trying to track down the elusive Andy Warhol. Also a 1976 documentary by the same name HEREfeaturing Patti Smith, Television, Ramones, Blondie and Richard Hell.
“Salad Days: A Decade of Punk in Washington, DC (1980-90)” is a documentary film that examines the early DIY punk scene in the Nation’s Capital. It was a decade when seminal bands like Bad Brains, Minor Threat, Government Issue, Scream, Void, Faith, Rites of Spring, Marginal Man, Fugazi, and others released their own records and booked their own shows—without major record label constraints or mainstream media scrutiny. Contextually, it was a cultural watershed that predated the alternative music explosion of the 1990s (and the industry’s subsequent implosion). Thirty years later, DC’s original DIY punk spirit serves as a reminder of the hopefulness of youth, the power of community and the strength of conviction. There is also an earlier documentary called ‘‘A History of DC Punk” that predates Salad Days’ overlook of the DC Punk scene.
Roxy club disc jockey Don Letts was given a Super 8 camera as a present by fashion editor Caroline Baker.When Letts started to film the acts at The Roxy, it was soon reported that he was making a movie, so Letts determined to film continuously for three months. The film features live footage of The Clash, Sex Pistols, WayneCounty & the Electric Chairs, Generation X, Slaughter and the Dogs, The Slits, Siouxsie and the Banshees, Eater, Subway Sect, X-Ray Spex, Alternative TV and Johnny Thunders and The Heartbreakers. Backstage footage of certain bands, such as Generation X, The Slits and Siouxsie and the Banshees, is also included. All live footage was shot at the Roxy, except that of the Sex Pistols, who were filmed at The Screen On The Green cinema in London on 3 April 1977. The performance was Sid Vicious’ first public concert with the band.
Danny Says is a documentary on the life and times of Danny Fields. Since 1966, Danny Fields has played a pivotal role in music and “culture” of the late 20th century: working for the Doors, Cream, Lou Reed, Nico, Judy Collins and managing groundbreaking artists like the Stooges, the MC5 and the Ramones. Danny Says follows Fields from Phi Beta Kappa whiz-kid, to Harvard Law dropout, to the Warhol Silver Factory, to Director of Publicity at Elektra Records, to “punk pioneer” and beyond. Danny’s taste and opinion, once deemed defiant and radical, has turned out to have been prescient. Danny Says is a story of marginal turning mainstream, avant garde turning prophetic, as Fields looks to the next generation. When I asked Legs McNeil what documentary I should watch, this is the one that he pointed out to me so imagine my joy when I saw it was featrured on Netflix. I’ve watched it twice in a row, and then some more…
Vince Lombardi High School continues to lose its school principles. The students are more concerned with rock ‘n’ roll than their education until the new principle, Miss Evelyn Togar is hired. She promises to set Vince Lombardi High School straight, and get the students focus back on education. However, a Ramones concert is coming to town, and Riff Randall, the biggest Ramones fan at the high school, plans on getting tickets to the concert in order to give them a song that she wrote entitled “Rock N’ Roll High School”. A series of events including Miss Togar taking away Riff’s tickets, a record burning and a taking over of the high school by Vince Lombardi High students and the Ramones, leads to a school evacuation by the police and an even more surprising ending!
Let Malcolm McLaren show you how to achieve fame and fortune by making your pop group the most despised band in the world! This film about the brief but eventful career of The Sex Pistols primarily focuses on McLaren, their manager, as he presents his ten-point program on how to achieve success through chaos, ineptitude, and abusing the music industry. Despite some remarkable footage of The Sex Pistols’ infamous Jubilee Day performance and clips from their final concert in San Francisco, there’s surprisingly little screen time devoted to the group actually performing. Instead, The Great Rock ‘n’ Roll Swindle offers McLaren’s agit-prop philosophies on music, culture, politics, and the entertainment industry, as well as an amusing (if often inaccurate) account of the band’s rise and fall. Along the way, we’re also offered some curious animated sequences, “film noir” episodes starring guitarist Steve Jones, footage of the band recording with exiled British train robber Ronnie Biggs, and Sid Vicious singing “My Way” (he had been dead for over a year by the time the movie was released). The Great Rock ‘n’ Roll Swindle began life as “Who Killed Bambi?”, a project written by Roger Ebert and directed by Russ Meyer, which closed down after two days of shooting when funding fell through. By the time McLaren and Julien Temple got it off the ground (with a radically different script), Johnny Rotten had left the group, which explains why the band’s front man is hardly in the movie. The rest of the group broke up a few months later. ~ Mark Deming, Rovi
Punk, disco, hip hop, the blackout, Son of Sam, Tony Manero, CBGB, Studio 54, Max’s Kansas City, Show World, Paradise Garage, cocaine, polyester and leather—1977 in New York City was exhilarating, a nightmare, fun, dangerous and never boring. It was the year I arrived in downtown Manhattan with a beautiful woman, no money and a rock and roll band. I hit the streets running and never looked back…unless it was to watch my back.
I was living in the decaying Hotel Earle in the West Village when NYC went black. The power failure of July 13, 1977 knocked the city to its knees. I was sitting on the window sill of my room keeping cool or as cool as one could keep during a sweltering summer night in the city. I was drinking a nice cold beer and listening to the music of the streets when at around 9:30 p.m. everything suddenly went completely dark…and I mean dark, dark as Aleister Crowley’s asshole. It was the strangest fucking thing you could imagine. One moment the city was there, then next it was gone. The only illumination came from automobile headlights lacerating the night like ghostly Ginsu knives. My girlfriend and I clutched hands and felt our way down the stairs and out onto the sidewalk. We walked to Bleecker street in spooky darkness. We weren’t alone. The avenues were teeming with the dazed and confused. Not that unusual for the Village, but the confusion was different. Was the world coming to an end?
By midnight the streets where mobbed with people who had figured out that civilization wasn’t ending, it was on vacation. There was a festive vibe in the air. It was like Mardi Gras for the blind. The bars and pubs that stayed open were candlelit and booze was flowing for free. Refrigerators weren’t working and there was no way to keep perishables from spoiling so instead of facing the prospect of throwing food away some joints were feeding people for free. A few cabbies got into the spirit of things and maneuvered their taxis in such a way as to shine their headlights into the cafes providing diners with surreal mood lighting. It was a prison break theme park. And this wild night was bringing out the best in New Yorkers. But it didn’t last. As the blackout continued through the next day and night, things started to change. The novelty of the crisis wore off and it got ugly. What had started out as a party turned into looting and violence. An unexpected payday for the poor and desperate.
The blackout put the whole gamut of what makes New York marvelous and miserable on display: the “I got your back, brother” slamming into the “fuck you!”
These were times when the city was an unseemly beast, a scabrous, moulting fat rat that was exciting to look at but terrifying. Part of the excitement came from the ever-present sense that things could go haywire at any minute. I lived intensely in the moment, acutely aware of everything around me, jacked up in a state of heightened consciousness that was both Zen and manic. Being in the here and now of New York City in 1977 wasn’t a hippie thing, it was survival. And when I got inside the safety zone of Max’s or CBGB, among my tribe, I was ready to get fucked up, to get high, to dance and celebrate.
In the city of night, we went to bed at dawn and rose at dusk. We were vampirebefore vampires became hip.
In the 1970’s, while American hippies were busy inking themselves with peace signs and psychedelic rainbows,Danzig Baldayev, a guard at St. Petersburg’s notorious Kresty Prison, began documenting the far less Woodstockian body art of Russia’s most infamous criminals.
For 33 years, Baldayev used his exclusive access to and rapport with the prisoners to hand-illustrate and capture in artful photographs more than 3,600 inmate tattoos — as admirable a feat artistically as it was sociologically.
In 2003, when he was in his late 70’s, Baldayev began releasing his magnificent archive as a series of books revealing a rich and eerie intersection of art and violence.
Russian Criminal Tattoo Encyclopaedia Volumes I, IIandIII offer not only a visceral record of this intersection, but also Baldayev’s aambitious effort to, through text and illustrations, parse the meaning of these tattoos and place them in the context of this fiercely self-contained subculture. (Or, as it were, institution-contained as well.)
Perhaps even more striking than the body art itself is how Baldayev was able to talk some of Russia’s most dangerous convicts into posing for such intimate and often vulnerable portraits, an intimacy also seen in the work of Canadian photographerDonald Weber:
For a related glimpse of this darkly enigmatic world, the excellent Oscar-nominated 2007 filmEastern Promisesabout the Russian mob in London, starring Naomi Watts and Viggo Mortensen, offers an intriguing look at tattoos as storytelling, a narrative through which prisoners told their life stories and conveyed their credos.
Each of the volumes is an absolute masterpiece and a fascinating slice of subcultural anthropology. It’s the kind of thing that adds instant conversation potential to any home library or coffee table, and guaranteed you’re-cooler-than-my-other-friends gifting recognition.
In 1969, a 14-year-old Beatle fanatic named Jerry Levitan, armed with a reel-to-reel tape deck, snuck into John Lennon’s hotel room in Toronto and convinced John to do an interview about peace. 38 years later, Jerry has produced a film about it. Using the original interview recording as the soundtrack, director Josh Raskin has woven a visual narrative which tenderly romances Lennon’s every word in a cascading flood of multipronged animation. Raskin marries the terrifyingly genius pen work of James Braithwaite with masterful digital illustration by Alex Kurina, resulting in a spell-binding vessel for Lennon’s boundless wit, and timeless message. ”I Met the Walrus” was nominated for the 2008 Academy Award for Animated Short and won the 2009 Emmy for ‘New Approaches’ (making it the first film to win an Emmy on behalf of the internet).
Check out this subversive fashion video for House Casting in New York City. It is based on the Iggy Pop song ‘I Wanna Be Your Dog’ and was played at the Center George Pompidou in Paris in September 09, as part of the ‘A Shaded View On Fashion’, during the larger fashion week.. Directed by Leg’s Georgie Greville.
Exploited Teen Models from Russia
It kinda works like either a pimp or a cult…Your pick… At first glance it seem’s all good but after awhile you are like hmmmm…There is definitely something wrong … BTW The Girl on top in the video is now the trainer in the documentary film for those who haven’t noticed…and she speaks quite frankly and honestly. That documentary called Girl Modelby Ashley Sabin and David Redmond has a very complicated backstory. Click HERE to read more.
The Prisoner (known only as Number Six) is a former government agent who has abruptly resigned from his job and finds himself imprisoned in an idyllic yet bizarre seaside village isolated from the world by the sea and mountains where his captors try to find out why he abruptly resigned from his job. Number 6 desperately wants to find his way to freedom without revealing anything to anyone, being loyal to his employers but also true to himself and the sets of values he believes in. The Village seems to be inhabited by other prisoners as well as enemy agents and guardians but it is very difficult to know who is who, Most (but not all) guards wear the same style of resort clothing and numbered badges as the prisoners, and mingle seamlessly among the general population. Thus, it is nearly impossible for prisoners to determine which Villagers can be trusted and which ones cannot.
The only one that obviously seems to be in charge of the Village is Number 2. Number Six is monitored heavily by Number Two, the Village administrator acting as an agent for an unseen “Number One”. A variety of techniques are used by Number Two to try to extract information from Number Six, including hallucinogenic drug experiences, identity theft, mind control, dream manipulation, and various forms of social indoctrination. All of these are employed not only to find out why Number Six resigned as an agent, but also to extract other purportedly dangerous information he gained as a spy. The position of Number Two is filled in on a rotating basis: in some cases, this is part of a larger plan to confuse Number Six; at other times, it seems to be a result of failure in interrogating Number Six.
Starring and co-created by Patrick McGoohan, the show’s combination of 1960s countercultural themes and surrealistic setting had a far-reaching effect on science fiction/fantasy programming, and on popular culture in general became the base for what is now known as one of the best cult series from the 60’s , it combined spy fiction with elements of science fiction, allegory, and psychological drama.
The opening and closing sequences of The Prisoner have become iconic. Cited as “one of the great set-ups of genre drama”, the opening sequence establishes the Orwellian and postmodern themes of the series;its high production values have led the opening sequence to be described as more like film than television.
The bicycle that is always at the forefront of anything related to the Prisoner is without a doubt the symbol of LSD and all the fuss that was made round its discovery. Lysergic Acid Diethylamide was discovered April 19, 1943, asAlbert Hofmann, a chemist for Sandoz, in Basel, Switzerland, ingested a minute amount—just 250 micrograms–of a compound derived from the ergot fungus. He soon felt extremely disoriented as he rode his bicycle home, where he experienced all the heavenly and hellish effects of lysergic acid diethylamide. Pink Floyd even had a song immortalising this event simply called ”Bike”.
Many secret services around the world were very intrigued by various hallucinogenic drugs (especially but not exclusively, LSD) and a shitload of secretive research around mind control were set in motion by various governments after WWII. Without a doubt, the Village where most of the action takes place his he and specifically is a reflection of those mind control covert operations, at least it is one aspect of it. One in particular, Project MKUltra—sometimes referred to as the mind control program—was the codename given to an illegal program of experiments on human subjects, designed and undertaken by the United States Central Intelligence Agency (CIA). Experiments on humans were intended to identify and develop drugs and procedures to be used in interrogations and torture, in order to weaken the individual to force confessions. Their purpose was to study mind control, interrogation,behavior modification and related topics. It is therefore obvious that the serie was very much aware of all the implications of LSD (mainly but not exclusively) during this period and for sure the bicycle that is omnipresent throughout the serie reflects the importance it had back then.
Another part of the inspiration for the Village came from research into World War II, where some people had been incarcerated in a resort-like prison calledInverlair Lodge. Actually the Village is a brutal dictatorship, best described by Number Six himself as “This farce, this 20th century Bastille that pretends to be a pocket democracy.” It is ruled by a revolving series of Chief Administrators designated “Number Two”, some of whom return to the office after lengthy absences. They vary greatly in personality and in methodology: some of them are quite amiable, some are sadistic, and some are mere bureaucratic functionaries bordering on functional impotence. Sadly, I must admit that it seems to resemble more and more today’s or even tomorrow’s ”ideal” society, “Work units” or “credits” serve as currency in its shops, and are kept track of with a hole-punched credit card (no money), its unique, controlled newspaper, its taxi service (no individual cars allowed implicating that you cannot go anywhere outside the village on your own), It’s camera surveillance system (Big Brother), No alcohol or drugs, no gambling, no radio, rigged justice system… It is baffling to think how far the resemblance has gone with what is actually well on its way… Exactly who operates the Village is deliberately obscured. Ostensibly, the Village is run by a democratically elected council, with a popularly-elected executive officer known as “Number Two” presiding over it and the Village itself, although internal dialogue indicates that the entire process is rigged. Number Two appears to be directly answerable to unseen superiors, the shadowy “They” or “Number 1″ pulling all the strings from behind the scenes, with direct contact via a red hotline phone. Undoubtedly resembling today’s Illuminati, Bilderberg, Skulls & Bones, NSA, Isis and similar shadowy organisations whose influence is felt but whose motives and goals are far from being clear. Do I need to say more?? If you watch the serie you will, without a doubt take note yourself of these little ”insignificant” things that are indeed very troubling.
It was probably one of the most influential pieces of television of the 1960s not only in the UK and USA but also in France, Australia and many other countries. Even The Beatles were fans. Its cult status was confirmed with the establishment in the 1970s of the official Prisoner Appreciation Society, Six of One.
Apparently there is a chance that it will be brought up to life again by none other than the creator of (among many others) ”Blade Runner”, Ridley Scott! The movie director already had plenty of momentum heading into Golden Globes weekend with a Best Director nomination, and now he has even more. Scott is in early negotiations on a deal to come aboard and direct The Prisoner, the screen version of the 1968 Patrick McGoohan British TV series. This has been a plum project at Universal for some time with numerous A-list scribes including Christopher McQuarrie writing drafts. The most recent version was by The Departed scribe William Monahan. The film is being produced by Bluegrass Films Scott Stuber and Dylan Clark. Scott’s Scott Free team will likely become part of it as they get the script that makes the director happy. Numerous writers are circling to do that, and the elbowing by several top actors has also begun, now that word is getting around that Scott is coming aboard.
Juarez’s Missing Girls Were Sex Slaves—And Everyone Knew It
Hundreds of women have been murdered or simply disappeared!!
What happened in the City of Juarez is so surreal, so horrible that no one can’t stand hearing what truly went on there. It’s a little a combination of everything horrible going on the world resulting in a serie of the most horrendous, repugnant crime It’s might be taking place in Juarez but I think we should all feel responsible since it’s everyone’s civil rights that are being shredded into tiny, insignificant pieces. Since the big corporations can now have plants right on the order side of the border and hire cheap labor, working 24h/24, added to the fact that you can buy in Juarez anything you can think about that is illegal (and more), the nightlife in a city of course regulated by organized crime and mexican cartels that reigns obviously at least a little on both sides of the border, where drugs are sold like candies, the police and all levels of the government are corrupted, some people are getting so rich that they do not know what do do with their time and their money that they truly have no more moral and no sense whatsoever of some limits that are not even put in questions by 95% of humanity. Add to that a severe dose of machismo, that characterise very well this part of Mexico is threatened by the fact that women can now earn a paycheck of their own, while big companies can now very significantly increase their profits since these women are being paid an average of 7 dollars a day.
These are no excuses and if you just have one of those without the other you do not have this storm of horrible rapes and tortures on young women that went on for nearly 2 decades. I have heard understood from the information I gathered that bus drivers were implicated by the independent inquiries led by the FBI as well as gang members, drug dealers, the police, very important people and well-known politicians and/or pillars of the community, judges, macho customs carried on by some macho men. It appears that the guiltiest and meanest of them all have been spared by Justice so far so, since I never can get it out f my head, the least I owe to all those victims (and God knows there are a lot!) is to spread the word aboutwhat happened to them, what is still going on as we speak and that seems to be on its way to go on for many more years.
The least I owe the Mexican of Juarez or to any of them who is suffering because of the delinquent people who are so horribly taking advantage of their situation is to make sure I would recognize it if it was to happen anywhere near me and that I can help to make sure it doesn’t happen. This is my statement for Ciudad Juarez and all the people that were affected by it.
Here is a very accurate documentary in English by Lourdes Portillo ‘‘Senorita Extraviada”