"While they were shooting, J.J. Abrams invited me to lunch and invited me to come to the set. I was so excited. The surprise he had going was that the young woman playing Uhura didn’t know I was coming. She just gasped.
As J.J. had planned it, she didn’t have to shoot, so we sat for two hours and talked, and it was as though I had known her all her life. I was so honored. I thought I was seeing myself — I knew I was in good hands. She just picked my brain.
When I see her come on, that’s me and I’m living it. A little ways into the movie, I realized she had taken to heart what I said and became more reserved and tighter. I’m so proud of her. She took a role that was established and gave it life.
Now I know who I was before I got on that ship for that first mission. It’s so exciting for me and rewarding. J.J. and she did me honor."


Nichelle Nichols about Zoe Saldana playing Uhura in the reboot (x)(x)

All the wonderful tears.

(via laughterkey)

(Source: spockuhuralove)

"Try not to compromise. So many people don’t do what they really want in their hearts because they feel like they’re not good enough, or they’re not smart enough, or they’re not talented enough… anything. And that doesn’t matter. In order for you to live a remarkable life — in order for you to live a life that is fulfilling — you need to be able to go after what you want. And if you don’t, you’re not going to achieve it — ever."


On Humble Pied, Debbie Millman shares three pieces of wisdom to guide the way to a remarkable life. Dive deeper with her timelessly wonderful illustrated-essay-turned-commencement-address on courage and the creative life. (via explore-blog)

Such wonderful advice!

(via thisfeliciaday)

"What has not been recognized is that the witch-hunt was one of the most important events in the development of capitalist society and the formation of the modern proletariat. For the unleashing of a campaign of terror against women, unmatched by any other persecution, weakened the resistance of the European peasantry to the assault launched on it by the gentry and the state, at a time when the peasant community was already disintegrating under the combined impact of land privatisation, increased taxation, and the extension of state control over every aspect of social life. The witch-hunt deepened the division between women and men, teaching men to fear the power of women, and destroyed a universe of practices, beliefs, and social subjects whose existence was incompatible with the capitalist work discipline, thus redefining the main elements of social reproduction. In this sense, like the contemporary attacks on “popular culture”, and the “Great Confinement” of paupers and vagabonds in work-houses and correction houses, the witch-hunt was an essential aspect of primitive accumulation and the “transition” to capitalism."

   — Sylvia Federici, “Caliban and the Witch” (via amodernmanifesto)

"A disproportionate focus on the way men’s lives are affected by rape accusations has an important role to play in rape culture. It reverses the power dynamics, positioning accusers as aggressors. Suddenly it is no longer the alleged crime, but its reporting that is the act of violence. It increases the pressure on victims who might already feel intimidated, asking “are you sure you want to make such a fuss? Are you aware of the damage you’ll do? Haven’t you got enough shame to deal with already?” It’s another form of victim blaming and it’s another way in which victims are seen as less than human, faceless objects in relation to which potential perpetrators have the right to define themselves again and again."

   — The Ched Evans case shows that the “ruined life” narrative is just another way to blame the victim (via radical-bias)

"We are the music makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams; —
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems."

   — (via purplebuddhaproject)