Introduction by Chris Banescu
As a survivor of the Communist Holocaust I am horrified to witness how my beloved America, my adopted country, is gradually being transformed into a secularist and atheistic utopia, where communist ideals are glorified and promoted, while Judeo-Christian values and morality are ridiculed and increasingly eradicated from the public and social consciousness of our nation.
Under the decades-long assault and militant radicalism of many so-called “liberal” and “progressive” elites, God has been progressively erased from our public and educational institutions, to be replaced with all manner of delusion, perversion, corruption, violence, decadence, and insanity.
It is no coincidence that as Marxist ideologies and secularist principles engulf the culture and pervert mainstream thinking, individual freedoms and liberties are rapidly disappearing. As a consequence, Americans feel increasingly more powerless and subjugated by some of the most radical and hypocritical, least democratic, and characterless individuals our society has ever produced.
Those of us who have experienced and witnesses first-hand the atrocities and terror of communism understand fully why such evil takes root, how it grows and deceives, and the kind of hell it will ultimately unleash on the innocent and the faithful. Godlessness is always the first step towards tyranny and oppression!
Nobel laureate, Orthodox Christian author, and Russian dissident, Alexander Solzhenitsyn, in his “Godlessness: the First Step to the Gulag” address, given when he received the Templeton Prize for Progress in Religion on May of 1983, explained how the Russian revolution and the communist takeover were facilitated by an atheistic mentality an a long process of secularization which alienated the people from God and traditional Christian morality and beliefs. He rightly concluded: “Men have forgotten God; that’s why all this has happened.”
The text of his Templeton Address is provided below. The parallels with the current crisis and moral decay in American society are striking and frightening. Those who have ears to hear, let them hear!
“Men Have Forgotten God” – The Templeton Address
by Aleksandr Solzhenitsyn
More than half a century ago, while I was still a child, I recall hearing a number of older people offer the following explanation for the great disasters that had befallen Russia: Men have forgotten God; that’s why all this has happened.
Since then I have spent well-nigh fifty years working on the history of our Revolution; in the process I have read hundreds of books, collected hundreds of personal testimonies, and have already contributed eight volumes of my own toward the effort of clearing away the rubble left by that upheaval. But if I were asked today to formulate as concisely as possible the main cause of the ruinous Revolution that swallowed up some sixty million of our people, I could not put it more accurately than to repeat: Men have forgotten God; that’s why all this has happened.
What is more, the events of the Russian Revolution can only be understood now, at the end of the century, against the background of what has since occurred in the rest of the world. What emerges here is a process of universal significance. And if I were called upon to identify briefly the principal trait of the entire twentieth century, here too, I would be unable to find anything more precise and pithy than to repeat once again: Men have forgotten God.
The failings of human consciousness, deprived of its divine dimension, have been a determining factor in all the major crimes of this century.
The failings of human consciousness, deprived of its divine dimension, have been a determining factor in all the major crimes of this century. The first of these was World War I, and much of our present predicament can be traced back to it. It was a war (the memory of which seems to be fading) when Europe, bursting with health and abundance, fell into a rage of self-mutilation which could not but sap its strength for a century or more, and perhaps forever. The only possible explanation for this war is a mental eclipse among the leaders of Europe due to their lost awareness of a Supreme Power above them. Only a godless embitterment could have moved ostensibly Christian states to employ poison gas, a weapon so obviously beyond the limits of humanity.
The same kind of defect, the flaw of a consciousness lacking all divine dimension, was manifested after World War II when the West yielded to the satanic temptation of the “nuclear umbrella.” It was equivalent to saying: Let’s cast off worries, let’s free the younger generation from their duties and obligations, let’s make no effort to defend ourselves, to say nothing of defending others-let’s stop our ears to the groans emanating from the East, and let us live instead in the pursuit of happiness. If danger should threaten us, we shall be protected by the nuclear bomb; if not, then let the world burn in Hell for all we care. The pitifully helpless state to which the contemporary West has sunk is in large measure due to this fatal error: the belief that the defense of peace depends not on stout hearts and steadfast men, but solely on the nuclear bomb…
Today’ s world has reached a stage which, if it had been described to preceding centuries, would have called forth the cry: “This is the Apocalypse!”
Yet we have grown used to this kind of world; we even feel at home in it.
Dostoevsky warned that “great events could come upon us and catch us intellectually unprepared.” This is precisely what has happened. And he predicted that “the world will be saved only after it has been possessed by the demon of evil.” Whether it really will be saved we shall have to wait and see: this will depend on our conscience, on our spiritual lucidity, on our individual and combined efforts in the face of catastrophic circumstances. But it has already come to pass that the demon of evil, like a whirlwind, triumphantly circles all five continents of the earth…
By the time of the Revolution, faith had virtually disappeared in Russian educated circles; and amongst the uneducated, its health was threatened.
In its past, Russia did know a time when the social ideal was not fame, or riches, or material success, but a pious way of life. Russia was then steeped in an Orthodox Christianity which remained true to the Church of the first centuries. The Orthodoxy of that time knew how to safeguard its people under the yoke of a foreign occupation that lasted more than two centuries, while at the same time fending off iniquitous blows from the swords of Western crusaders. During those centuries the Orthodox faith in our country became part of the very pattern of thought and the personality of our people, the forms of daily life, the work calendar, the priorities in every undertaking, the organization of the week and of the year. Faith was the shaping and unifying force of the nation.
But in the 17th century Russian Orthodoxy was gravely weakened by an internal schism. In the 18th, the country was shaken by Peter’s forcibly imposed transformations, which favored the economy, the state, and the military at the expense of the religious spirit and national life. And along with this lopsided Petrine enlightenment, Russia felt the first whiff of secularism; its subtle poisons permeated the educated classes in the course of the 19th century and opened the path to Marxism. By the time of the Revolution, faith had virtually disappeared in Russian educated circles; and amongst the uneducated, its health was threatened.
It was Dostoevsky, once again, who drew from the French Revolution and its seeming hatred of the Church the lesson that “revolution must necessarily begin with atheism.” That is absolutely true. But the world had never before known a godlessness as organized, militarized, and tenaciously malevolent as that practiced by Marxism. Within the philosophical system of Marx and Lenin, and at the heart of their psychology, hatred of God is the principal driving force, more fundamental than all their political and economic pretensions. Militant atheism is not merely incidental or marginal to Communist policy; it is not a side effect, but the central pivot.
The 1920’s in the USSR witnessed an uninterrupted procession of victims and martyrs amongst the Orthodox clergy. Two metropolitans were shot, one of whom, Veniamin of Petrograd, had been elected by the popular vote of his diocese. Patriarch Tikhon himself passed through the hands of the Cheka-GPU and then died under suspicious circumstances. Scores of archbishops and bishops perished. Tens of thousands of priests, monks, and nuns, pressured by the Chekists to renounce the Word of God, were tortured, shot in cellars, sent to camps, exiled to the desolate tundra of the far North, or turned out into the streets in their old age without food or shelter. All these Christian martyrs went unswervingly to their deaths for the faith; instances of apostasy were few and far between. For tens of millions of laymen access to the Church was blocked, and they were forbidden to bring up their children in the Faith: religious parents were wrenched from their children and thrown into prison, while the children were turned from the faith by threats and lies…
For a short period of time, when he needed to gather strength for the struggle against Hitler, Stalin cynically adopted a friendly posture toward the Church. This deceptive game, continued in later years by Brezhnev with the help of showcase publications and other window dressing, has unfortunately tended to be taken at its face value in the West. Yet the tenacity with which hatred of religion is rooted in Communism may be judged by the example of their most liberal leader, Krushchev: for though he undertook a number of significant steps to extend freedom, Krushchev simultaneously rekindled the frenzied Leninist obsession with destroying religion.
But there is something they did not expect: that in a land where churches have been leveled, where a triumphant atheism has rampaged uncontrolled for two-thirds of a century, where the clergy is utterly humiliated and deprived of all independence, where what remains of the Church as an institution is tolerated only for the sake of propaganda directed at the West, where even today people are sent to the labor camps for their faith, and where, within the camps themselves, those who gather to pray at Easter are clapped in punishment cells–they could not suppose that beneath this Communist steamroller the Christian tradition would survive in Russia. It is true that millions of our countrymen have been corrupted and spiritually devastated by an officially imposed atheism, yet there remain many millions of believers: it is only external pressures that keep them from speaking out, but, as is always the case in times of persecution and suffering, the awareness of God in my country has attained great acuteness and profundity.
It is here that we see the dawn of hope: for no matter how formidably Communism bristles with tanks and rockets, no matter what successes it attains in seizing the planet, it is doomed never to vanquish Christianity.
The West has yet to experience a Communist invasion; religion here remains free. But the West’s own historical evolution has been such that today it too is experiencing a drying up of religious consciousness. It too has witnessed racking schisms, bloody religious wars, and rancor, to say nothing of the tide of secularism that, from the late Middle Ages onward, has progressively inundated the West. This gradual sapping of strength from within is a threat to faith that is perhaps even more dangerous than any attempt to assault religion violently from without.
Imperceptibly, through decades of gradual erosion, the meaning of life in the West has ceased to be seen as anything more lofty than the “pursuit of happiness, “a goal that has even been solemnly guaranteed by constitutions. The concepts of good and evil have been ridiculed for several centuries; banished from common use, they have been replaced by political or class considerations of short lived value. It has become embarrassing to state that evil makes its home in the individual human heart before it enters a political system. Yet it is not considered shameful to make dally concessions to an integral evil. Judging by the continuing landslide of concessions made before the eyes of our very own generation, the West is ineluctably slipping toward the abyss. Western societies are losing more and more of their religious essence as they thoughtlessly yield up their younger generation to atheism. If a blasphemous film about Jesus is shown throughout the United States, reputedly one of the most religious countries in the world, or a major newspaper publishes a shameless caricature of the Virgin Mary, what further evidence of godlessness does one need? When external rights are completely unrestricted, why should one make an inner effort to restrain oneself from ignoble acts?
Or why should one refrain from burning hatred, whatever its basis–race, class, or ideology? Such hatred is in fact corroding many hearts today. Atheist teachers in the West are bringing up a younger generation in a spirit of hatred of their own society. Amid all the vituperation we forget that the defects of capitalism represent the basic flaws of human nature, allowed unlimited freedom together with the various human rights; we forget that under Communism (and Communism is breathing down the neck of all moderate forms of socialism, which are unstable) the identical flaws run riot in any person with the least degree of authority; while everyone else under that system does indeed attain “equality”–the equality of destitute slaves. This eager fanning of the flames of hatred is becoming the mark of today’s free world. Indeed, the broader the personal freedoms are, the higher the level of prosperity or even of abundance–the more vehement, paradoxically, does this blind hatred become. The contemporary developed West thus demonstrates by its own example that human salvation can be found neither in the profusion of material goods nor in merely making money.
This deliberately nurtured hatred then spreads to all that is alive, to life itself, to the world with its colors, sounds, and shapes, to the human body. The embittered art of the twentieth century is perishing as a result of this ugly hate, for art is fruitless without love. In the East art has collapsed because it has been knocked down and trampled upon, but in the West the fall has been voluntary, a decline into a contrived and pretentious quest where the artist, instead of attempting to reveal the divine plan, tries to put himself in the place of God.
Here again we witness the single outcome of a worldwide process, with East and West yielding the same results, and once again for the same reason: Men have forgotten God.
With such global events looming over us like mountains, nay, like entire mountain ranges, it may seem incongruous and inappropriate to recall that the primary key to our being or non-being resides in each individual human heart, in the heart’s preference for specific good or evil. Yet this remains true even today, and it is, in fact, the most reliable key we have. The social theories that promised so much have demonstrated their bankruptcy, leaving us at a dead end. The free people of the West could reasonably have been expected to realize that they are beset · by numerous freely nurtured falsehoods, and not to allow lies to be foisted upon them so easily. All attempts to find a way out of the plight of today’s world are fruitless unless we redirect our consciousness, in repentance, to the Creator of all: without this, no exit will be illumined, and we shall seek it in vain. The resources we have set aside for ourselves are too impoverished for the task. We must first recognize the horror perpetrated not by some outside force, not by class or national enemies, but within each of us individually, and within every society. This is especially true of a free and highly developed society, for here in particular we have surely brought everything upon ourselves, of our own free will. We ourselves, in our daily unthinking selfishness, are pulling tight that noose…
Our life consists not in the pursuit of material success but in the quest for worthy spiritual growth. Our entire earthly existence is but a transitional stage in the movement toward something higher, and we must not stumble and fall, nor must we linger fruitlessly on one rung of the ladder. Material laws alone do not explain our life or give it direction. The laws of physics and physiology will never reveal the indisputable manner in which the Creator constantly, day in and day out, participates in the life of each of us, unfailingly granting us the energy of existence; when this assistance leaves us, we die. And in the life of our entire planet, the Divine Spirit surely moves with no less force: this we must grasp in our dark and terrible hour.
To the ill-considered hopes of the last two centuries, which have reduced us to insignificance and brought us to the brink of nuclear and non-nuclear death, we can propose only a determined quest for the warm hand of God, which we have so rashly and self-confidently spurned. Only in this way can our eyes be opened to the errors of this unfortunate twentieth century and our bands be directed to setting them right. There is nothing else to cling to in the landslide: the combined vision of all the thinkers of the Enlightenment amounts to nothing.
Our five continents are caught in a whirlwind. But it is during trials such as these that the highest gifts of the human spirit are manifested. If we perish and lose this world, the fault will be ours alone.
Aleksandr Solzhenitsyn, “Godlessness: the First Step to the Gulag”. Templeton Prize Lecture, 10 May 1983 (London).
A video introducing Russian Faith
New book reveals the true story of how the Oscars got their name | Culture
The most coveted trophy in cinema is called the Academy of Motion Picture Arts and Sciences Award, but it was dubbed the Oscar several years after it was first presented on May 16, 1929, at the Roosevelt Hotel, just a block away from the gala’s current venue, the Dolby Theater.
The Hollywood Academy has it all on record. The nickname, the official name – the whole shebang. But where does the nickname come from? Well, from a “straight and tall” Norwegian sailor, in fact. A book on the first 50 years of the Academy, to be published in the US in October, mentions the origins of the name and singles out Academy assistant, Eleanore Lilleberg, as the creator of the alias.
Until now, it was commonly believed that Margaret Herrick had given the name to the award, which is not, in fact, solid gold, but britannia – an alloy of copper, tin and antimony – bathed in gold. This story had it that, in 1931, Herrick, who was then Margaret Gledhill, joined the Academy’s library and on her first day of work came across a statuette, of which she said, “It reminds me of my uncle Oscar.” According to the 1947/1948 Hollywood Academy Almanac, a journalist got wind of the anecdote and put it in print the following day.
In 1943, Herrick became executive director of the Academy and was the first to negotiate with a television network for the live broadcast of the gala in 1953. This gave the Academy financial independence, freeing it from reliance on membership fees, and allowed it to expand its educational programs and cultural activities.
But in the forthcoming book The Academy and the Award, due out in October, author Bruce Davis tells it differently and he should know, as for 22 years, he was the Academy’s executive director until his retirement in 2011. In other words, he has had access to the archives, which is what he has devoted himself to since leaving office. Davis is not just any executive either: some time ago, he came up with the idea of investing some of the Academy’s savings in the museum that has now become one of the jewels in its crown.
According to the website Deadline, which has had access to the 521-page tome, Davis’ research has been thorough. Regarding Herrick’s story, he found a 1938 Los Angeles Examiner report in which Herrick offered a different version of the tale, namely that she and her first husband, Donald Gledhill, used to have a private joke between them that went, “How’s your Uncle Oscar?”
In a bid to get to the bottom of the matter, Davis then brings in the 1970 memoirs of columnist Sidney Skolsky, Don’t Get Me Wrong – I Love Hollywood. Skolsky also took credit for the name, recalling that, under deadline pressure in 1934, he used it in mocking tribute to Vaudeville comedians who liked to say to the conductor of the orchestra, “Will you have a cigar, Oscar?”
However, on March 16, 1934, Skolsky himself wrote in the New York Daily News: “Among the profession, statuettes are called Oscars.” So, both Skolsky’s initial claim and Herrick’s claim were unseated, leaving that of actress Bette Davis.
In January 1941, Bette Davis became the first woman to preside over the Hollywood Academy, a position she resigned from a few months later after a stand-off between her and the board of directors. However, in her memoirs The Lonely Life, published in 1962, she maintained that she was the one who thought of the epithet when holding her first Oscar for Dangerous in 1936: “His back view was the spit of my husband’s. Since the ‘O’ in Harmon O. Nelson stood for Oscar, Oscar it has been ever since,” she wrote. When it was pointed out that the term had already been in use for two years by then, the actress recanted.
So, Bruce Davis kept digging. And he found that the Oscars were actually probably named by Eleanore Lilleberg, a secretary and office assistant in the early days of the Academy who was in charge of looking after the statuettes in the run-up to the ceremonies. She had been previously mooted as responsible for the name Oscar, though not how it came about.
But in a small museum in Green Valley, California, dedicated to Lilleberg and her gemologist brother Einar, Davis found Einar’s unfinished memoirs in which he explains that it was Eleanore who named the award Oscar, after a Navy veteran from Norway, the Lilleberg family’s country of origin. Together, they had met this sailor in Chicago and noted that, like the statuette, he “stood straight and tall.” A 1944 newspaper interview with a colleague and an oral account back up this theory.
Which puts this particular mystery to rest, though there are plenty more Oscar secrets in the book…
Back in Action: The return of Cameron Diaz, the once-highest-paid actress in Hollywood | Culture
In an interview with her close friend Gwyneth Paltrow, actress Cameron Diaz explained how it felt to leap from the Olympus of Hollywood into the abyss, leaving behind a career full of blockbuster movies. “I’m at peace. I got a peace in my soul. Because I was finally taking care of myself. I feel like my feet are on the ground. I’m lighter.” The actress starred in romantic comedies from the mid-1990s through the first decade of the 2000s, including the hit There’s Something About Mary. For several years, she was the best-paid actress in Los Angeles, making up to $20 million per film. But at age 40, with no warning, she decided to “semi-retire” from the industry. Diaz was focused on enjoying her personal life: she is married to musician Benji Madden, and she gave birth to her first daughter, Raddix, at age 47. But she never closed the door on a possible return. Now, eight years after her last movie, America’s blondest sweetheart is back.
“I’m excited, but I don’t know how to do this, you know?” Cameron Diaz admits in the video in which she announced the end of her retirement and confirmed her return to the industry. Simulating a call with her fellow cast member Jamie Foxx, the 49-year-old actress revealed that she will play the lead in a new action comedy for Netflix, titled Back in Action. In the clip, Foxx – who won an Oscar for the movie Ray – seeks help from football player Tom Brady, who this year announced his retirement and changed his mind a month later, in order to prepare Diaz for her return to the big screen. On social media, other entertainers, including Jennifer Aniston and Kim Cattrall, received the news with enthusiasm. Nancy Meyers, who directed Cameron Diaz in The Holiday, wrote: “Finally! Some good news!” Still, in keeping with her decision to avoid the buzz of stardom as much as possible, the Californian actress didn’t even share the news with her nearly 10 million Instagram followers.
Cameron I hope you aren’t mad I recorded this, but no turning back now. Had to call in the GOAT to bring back another GOAT. @CameronDiaz and I are BACK IN ACTION – our new movie with @NetflixFilm. Production starting later this year!! 🦊🐐 pic.twitter.com/vyaGrUmbWb
— Jamie Foxx (@iamjamiefoxx) June 29, 2022
During her time outside the public eye, Cameron Diaz, like peers such as Jessica Alba and Kate Hudson, has attempted to follow Gwyneth Paltrow’s path, using her platform to establish herself as a wellness guru. She published two books on well-being and longevity – The Body Book and The Longevity Book. She has also invested in emerging alternative medicine companies, including Modern Acupuncture and Lyra Health, which helps companies improve the mental health of their employees. In 2020, she also became the founder of the Avaline wine brand, which sells wines made with organic, pesticide-free grapes. The line includes eight varieties, and the starting price for a bottle is €23 ($23.6). “Avaline is the only day-to-day work that I’m doing other than being a wife and a mother. It really has been the most fulfilling part of my life so far,” she said in an interview last year.
The resurgence of the romantic comedy could be behind Diaz’s return to film. The genre reached its box office peak in the mid-1990s. Earlier this year, Sandra Bullock found unexpected success with her return to the genre in The Lost City. Andy Garcia and Gloria Estefan gave the latest remake of Father of the Bride a Latin twist. And in September, Julia Roberts will return to theaters in September after four years of absence: in Journey to Paradise, she will join George Clooney to play a divorced couple who team up to torpedo their daughter’s wedding in Bali. Meanwhile, Tom Cruise is enjoying the success of Top Gun: Maverick, Laura Dern and Sam Neill are returning to the Jurassic Park franchise, and Brad Pitt is preparing for the release of his new action film Bullet Train. After being slammed by the effects of the pandemics, movie theaters are finding that old stars are the best way to get viewers back in their seats.
During her hiatus, Diaz has avoided spotlights and red carpets, appearing only on programs hosted by colleagues such as Paltrow and Drew Barrymore. The actress has spoken unequivocally about the elements that have hampered her professional career, from the abuse of power exercised by Hollywood studios over their stars to the dictatorship of beauty standards. “Every day I sat in front of the mirror for hours. It ended up being toxic […] You start criticizing yourself and you think, why am I sitting here being mean to myself?” she said in a BBC podcast, calling herself a “victim of the objectification and social exploitation that women are subjected to.” In deciding to return to the spotlight, Diaz follows the example of other contemporaries who have recently come out of similar semi-retirements, such as Renée Zellweger, who won an Oscar for her portrayal of Judy Garland, and Lindsay Lohan, who will premiere a Christmas-themed movie on Netflix at the end of this year.
Today’s leading Tik Tok influencer creates fashion parodies from one of the world’s poorest islands | Culture
Shaheel Shermont Flair is 24 years old, and he wants to be a comedic actor. On his social media, where he showcases his talent for comedy through videos/reels, he describes himself as a “public figure” and “artist.” On June 20, he shared his latest witty idea online: a fashion show parody. “Fashion shows be like this,” he declared (alongside the emoji of a face crying with laughter). Then, barefoot and dressed in a T-shirt and sport shorts, he started walking like Linda, Naomi, or Christy through what looks like the backyard of his house. Each trip displayed a style created with all sorts of knickknacks, junk, utensils and household furnishings. In an unintentionally Rickowensian moment (or not), he even used his little sister, Riharika, who was accessorized and off to the side, as a complement. On TikTok, where he has been appearing as @shermont22 for a little more than a year, the short video has racked up over five million views and counting. He continues to gain followers as well; he has nearly 350,000 right now and 13 million or so “likes.” Viewers keep asking him for more. At popular request, he uploaded his most recent video a few hours ago. It is the ninth installment of a viral saga that, in reality, is not so ironic and hilarious.
By today’s standards, Shermont is already a star in terms of fame and glory. In a recent story on his Instagram profile (@shermont_22, which has considerably fewer followers, although one assumes that his viewership there will eventually grow), he confessed to having googled his name and was in disbelief about how far-reaching his performance was. “I’m in the news!” He was amazed and posted screenshots from different digital media, especially from Southeast Asian outlets. On Twitter, he is being hailed as the week’s hero for making fun of, mocking, and deriding that silly and increasingly absurd thing: fashion (of course).
The same thing happened just two months ago, when a video on Douyin (a social network) went viral on its Western counterpart, TikTok, giving rise to the turn-your-grandmother-into-an-international-supermodel challenge. In the video, a venerable elderly Chinese woman was dressed as the personification of Balenciaga, Gucci and Prada by a little boy (presumably her grandson) with what he had on hand in his yurt, including chicken. The results of the challenge—images done in the style of luxury advertising campaigns with brand logos superimposed on them—tell us that we are all Demna Gvasalia, Alessandro Michele, or the tandem Miuccia-Raf Simons, or at least we can be.
For a long time, people have complained repeatedly about how bad fashion is, now more than ever. Not only does fashion pollute the planet and exploit its workers, but it also mocks consumers. Are these designers crazy? No, they are just pulling our leg with so much aesthetic arbitrariness/ugliness/stupidity. It’s only fair, then, to return the favor in jaw-droppingly funny ways. In fact, trolling the fashion industry—like Shermont and the Chinese grandmothers (there are quite a few of them)—may be evidence of a certain social disgust with its three-ring circus and its trainers, illusionists, and clowns, whose extravagances are understood as nonsense and, even worse, insults or near-insults. Vetements’s DHL uniform. Virgil Abloh’s Ikea bag. JW Anderson’s broken-skateboard-encrusted sweater. Balenciaga’s shredded sneakers. All of Balenciaga, the brand inevitably referred to in comments on the young comedian’s reels. There are more than a few comments that also praise Shermont’s attitude and stylish model’s trot; they ask to see his fashion show in Paris and Milan already. And then there are those who attempt to be funnier and more sarcastic and ironic than the video itself, which is typical on Twitter. But none of the commenters have taken issue—or even tried to take issue—with the video’s deeper premise.
Shaheel Shermont Flair is a Fijian of Indian descent; his ancestors were Indian girmtyas who went to British-colonized Fiji in the mid-nineteenth century as slave labor. He is also gay. “Welcome the queen to Instagram,” he urged in April 2021, when he debuted on the social media site. In November, he posted that “[m]y sexuality isn’t the problem, your bigotry is.” In April of this year, he returned to the fray: “There are those who hate me for being different and not living by society’s standards, but deep down they wish they had my courage.” Before his phenomenal fashion show, he was already doing “low cosplay” of Indian women by using waste—toilet paper for the sari, a bottle cap for a nath on the nose, and a tea bag for the maang tikka on the forehead, for example—to create an Indian bride’s trousseau in the playful post, “Getting ready for my lover.” In another, he straps on two water-filled balloons as swaying breasts under his T-shirt. “The things I do for TikTok,” he wrote. Indeed, Shermont has made comedy his path to escape bullying and discrimination (prejudice is double in his case) and turned his social media accounts into a highway to heaven. Just like Apichet Madaew Atirattana did back in his day.
Except for its glamorous intent, everything about Shermont’s catwalk recalls that of the so-called Thai Dovima. In 2016, before Tik Tok’s one-track mind took over, a teenager from the rice-growing region of Isaan—one of Thailand’s poorest areas—astonished the world by turning everyday objects, twigs, and trash into fabulous outfits. He filmed himself modeling those clothes at different locations in his village; his grandmother acted as a styling assistant. Facebook and Instagram went wild over what was termed the “break down of barriers between gender identity, fashion and recycling.” At the time, Madaew (a nom de guerre) explained it this way: “I want people to see that ugly things that don’t fit in can be transformed into something beautiful. And that dressing well is not about money.” Just a few months later, Asia’s Next Top Model, the South Asian edition of the U.S. talent show, called him to be a guest designer during the program’s fourth season. The following year, Time magazine put him on its list of new generational leaders. His example spread. Soon, new stars made their appearance: Suchanatda Kaewsanga, a fellow Thai who is openly trans, and the Chinese Lu Kaigang, whose offerings for fashion shows in his village—located in Guangxi province—unironically included dresses made of garbage can lids and old air-conditioner bags.
Here, we have a response from the poor and marginalized to fashion’s global impact as a mass phenomenon ascribed to the culture of leisure/entertainment. It is a practice that resonates with the button-down politics of Patrick Kelly, the first African American designer to join the ranks of the Parisian ready-to-wear trade association in the mid-1980s; the clothing activities of the swenkas (workers of Zulu origin) and skhothanes (post-apartheid image-obsessed youth) in Johannesburg; and the young Ghanaians who exploit the city-sized textile dumps surrounding the capital, Accra, as sources for their creativity. The narratives of the designers who establish the industry’s current direction, amplified as never before by digital media, also show that it is indeed possible to dress as stylishly as Balenciaga, Gucci or Prada without breaking the bank. That’s why TikTok’s Chinese supermodel grandmothers reflect aspiration and not scorn; they are proof that fashion has something for everyone, even the most socially disadvantaged (one can’t miss the proud hashtag that usually accompanies them, #chinastreetstyle). That’s why Apichet Madaew Atirattana, Suchanatda Kaewsanga and Li Kaigang have made careers as creators, bloggers or influencers with hundreds of thousands of followers. They’ve come so far, propelled by the dreamy fuel that the magazines in village hair salons and satellite TV offer. “It’s very easy to blame fashion for all the problems it creates, but I’d like to think it’s also capable of helping people in many ways, in positive ways,” says Minh-Ha T. Pham, a professor of media studies at Pratt Institute in New York and the author of Asians Wear Clothes on the Internet (2016), an essay about the dynamics of race, gender and class among the young Asians who have found a way to express their identity through fashion, and in the process pushed the system to finally recognize them as a socioeconomic and cultural force. Shaheel Shermont Flair laughs, but he does fashion shows because he also knows what fashion can do for his ambition to become an actor.
Teenager saves baby from shipwreck during Mediterranean crossing | Global development
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