Lily Salter's Blog, page 1001
September 14, 2015
Miss America finally apologizes to Vanessa Williams — but has the pageant really become more supportive of its women?
It was a moment of vindication over thirty years in the making. When former Miss America Vanessa Williams returned to the pageant on Sunday, this time as a judge, it wasn't just a simple homecoming. It was a reconciliation. But does it mean that the pageant wouldn't behave today exactly the same way that it did in 1984? When Williams was crowned the first African-American Miss America in 1983, she immediately earned her place in pageant history. Ten months later, she made history again when she became the first Miss America to resign, after Penthouse obtained and published photographs of her that had been shot in 1982. She had been a 19 year-old student working for a local modeling agency, for a photographer who had persuaded her to do two nude sessions — one by herself and one with another woman — and had "assured me that none of the photographs would ever leave the studio." The photos were a blockbuster for Penthouse, a public relations mess for the pageant and a potential career ender for Williams. In 1984, Williams told People, "I felt betrayed and violated, like I had been raped…. I think this would have to be the worst thing that has happened in my life. But I can't go any place but up. I've hit rock bottom." And she added, "I still plan on going into the entertainment business." She did just that. What followed has been a career that can only be described as stellar, and not just by "ex-Miss America" standards. The 52 year-old Williams has had a string of hit songs, been a television star, and is a Grammy, Emmy, and Tony nominee. And on Sunday night, she earned something else — an apology. After being introduced as "Miss America 1984" — no asterisk needed — Williams sang "Oh How The Years Go By" and got a personal message from Miss America pageant executive chairman Sam Haskell. "On behalf of today's organization," he said, "I want to apologize for anything that was said or done that made you feel any less the Miss America you are and the Miss America you always will be." Sure, "today's" organization is a different one than it was 31 years ago. But it also grapples quite publicly with its still conservative image. Last year's Miss America, Kira Kazantsev, did a brief stint as an intern for Planned Parenthood — a resume item that infuriated anti-choice pundits. Two years ago, Miss Kansas Theresa Vail became the first tattooed contestant, but notably a patriotic, God-loving one — appearing in the swimsuit competition with an army insignia and serenity prayer emblazoned on her body. And the same year, the competition crowned Nina Davulur its first Miss America of Indian ancestry — a choice that unleashed a predictable torrent of bigotry. There has yet to be an openly gay or atheist Miss America. An aspiring Miss America competing in "today's" organization is doing so in a world in which young women have a very different understanding of how easily compromising photographs can be disseminated than Williams had in the early eighties. Perhaps this organization itself is more accepting of that as well. But in 2006, a Miss USA contestant from Nevada, Katie Rees, was booted when revealing photos of her partying hard surfaced, proving that the pageant circuit in general still expects a strict level of approved decorum from its contestants and winners. And despite the Miss America organization's current embrace of Williams — who has held her head high admirably for more than thirty years now — it's hard to imagine how it would respond if a similar set of photos were to surface about a more current contestant. In 1984, those photos of Williams set off a wave of prudish shock and prurient curiosity not just because they were nude but because they were patently erotic, and some in a same-sex manner. They depicted a young woman — our Miss America — in the unclothed, seemingly tender embrace of another woman. Think that our relentless cultural appetite for anything that looks like scandal has abated one iota since? Then why do we have entertainment sites whose entire reason for being is nip slips? No other Miss America has had the career that Williams has had. No other Miss America has achieved what she has, and on her terms. Williams is now a successful, middle-aged mother. She is a respected actress and singer. She has nothing to prove. And while it's great that the Miss America pageant has acknowledged what it put her through back then, it's worth asking seriously how differently the institution really would behave now, toward another naive and exploited young girl?It was a moment of vindication over thirty years in the making. When former Miss America Vanessa Williams returned to the pageant on Sunday, this time as a judge, it wasn't just a simple homecoming. It was a reconciliation. But does it mean that the pageant wouldn't behave today exactly the same way that it did in 1984? When Williams was crowned the first African-American Miss America in 1983, she immediately earned her place in pageant history. Ten months later, she made history again when she became the first Miss America to resign, after Penthouse obtained and published photographs of her that had been shot in 1982. She had been a 19 year-old student working for a local modeling agency, for a photographer who had persuaded her to do two nude sessions — one by herself and one with another woman — and had "assured me that none of the photographs would ever leave the studio." The photos were a blockbuster for Penthouse, a public relations mess for the pageant and a potential career ender for Williams. In 1984, Williams told People, "I felt betrayed and violated, like I had been raped…. I think this would have to be the worst thing that has happened in my life. But I can't go any place but up. I've hit rock bottom." And she added, "I still plan on going into the entertainment business." She did just that. What followed has been a career that can only be described as stellar, and not just by "ex-Miss America" standards. The 52 year-old Williams has had a string of hit songs, been a television star, and is a Grammy, Emmy, and Tony nominee. And on Sunday night, she earned something else — an apology. After being introduced as "Miss America 1984" — no asterisk needed — Williams sang "Oh How The Years Go By" and got a personal message from Miss America pageant executive chairman Sam Haskell. "On behalf of today's organization," he said, "I want to apologize for anything that was said or done that made you feel any less the Miss America you are and the Miss America you always will be." Sure, "today's" organization is a different one than it was 31 years ago. But it also grapples quite publicly with its still conservative image. Last year's Miss America, Kira Kazantsev, did a brief stint as an intern for Planned Parenthood — a resume item that infuriated anti-choice pundits. Two years ago, Miss Kansas Theresa Vail became the first tattooed contestant, but notably a patriotic, God-loving one — appearing in the swimsuit competition with an army insignia and serenity prayer emblazoned on her body. And the same year, the competition crowned Nina Davulur its first Miss America of Indian ancestry — a choice that unleashed a predictable torrent of bigotry. There has yet to be an openly gay or atheist Miss America. An aspiring Miss America competing in "today's" organization is doing so in a world in which young women have a very different understanding of how easily compromising photographs can be disseminated than Williams had in the early eighties. Perhaps this organization itself is more accepting of that as well. But in 2006, a Miss USA contestant from Nevada, Katie Rees, was booted when revealing photos of her partying hard surfaced, proving that the pageant circuit in general still expects a strict level of approved decorum from its contestants and winners. And despite the Miss America organization's current embrace of Williams — who has held her head high admirably for more than thirty years now — it's hard to imagine how it would respond if a similar set of photos were to surface about a more current contestant. In 1984, those photos of Williams set off a wave of prudish shock and prurient curiosity not just because they were nude but because they were patently erotic, and some in a same-sex manner. They depicted a young woman — our Miss America — in the unclothed, seemingly tender embrace of another woman. Think that our relentless cultural appetite for anything that looks like scandal has abated one iota since? Then why do we have entertainment sites whose entire reason for being is nip slips? No other Miss America has had the career that Williams has had. No other Miss America has achieved what she has, and on her terms. Williams is now a successful, middle-aged mother. She is a respected actress and singer. She has nothing to prove. And while it's great that the Miss America pageant has acknowledged what it put her through back then, it's worth asking seriously how differently the institution really would behave now, toward another naive and exploited young girl?It was a moment of vindication over thirty years in the making. When former Miss America Vanessa Williams returned to the pageant on Sunday, this time as a judge, it wasn't just a simple homecoming. It was a reconciliation. But does it mean that the pageant wouldn't behave today exactly the same way that it did in 1984? When Williams was crowned the first African-American Miss America in 1983, she immediately earned her place in pageant history. Ten months later, she made history again when she became the first Miss America to resign, after Penthouse obtained and published photographs of her that had been shot in 1982. She had been a 19 year-old student working for a local modeling agency, for a photographer who had persuaded her to do two nude sessions — one by herself and one with another woman — and had "assured me that none of the photographs would ever leave the studio." The photos were a blockbuster for Penthouse, a public relations mess for the pageant and a potential career ender for Williams. In 1984, Williams told People, "I felt betrayed and violated, like I had been raped…. I think this would have to be the worst thing that has happened in my life. But I can't go any place but up. I've hit rock bottom." And she added, "I still plan on going into the entertainment business." She did just that. What followed has been a career that can only be described as stellar, and not just by "ex-Miss America" standards. The 52 year-old Williams has had a string of hit songs, been a television star, and is a Grammy, Emmy, and Tony nominee. And on Sunday night, she earned something else — an apology. After being introduced as "Miss America 1984" — no asterisk needed — Williams sang "Oh How The Years Go By" and got a personal message from Miss America pageant executive chairman Sam Haskell. "On behalf of today's organization," he said, "I want to apologize for anything that was said or done that made you feel any less the Miss America you are and the Miss America you always will be." Sure, "today's" organization is a different one than it was 31 years ago. But it also grapples quite publicly with its still conservative image. Last year's Miss America, Kira Kazantsev, did a brief stint as an intern for Planned Parenthood — a resume item that infuriated anti-choice pundits. Two years ago, Miss Kansas Theresa Vail became the first tattooed contestant, but notably a patriotic, God-loving one — appearing in the swimsuit competition with an army insignia and serenity prayer emblazoned on her body. And the same year, the competition crowned Nina Davulur its first Miss America of Indian ancestry — a choice that unleashed a predictable torrent of bigotry. There has yet to be an openly gay or atheist Miss America. An aspiring Miss America competing in "today's" organization is doing so in a world in which young women have a very different understanding of how easily compromising photographs can be disseminated than Williams had in the early eighties. Perhaps this organization itself is more accepting of that as well. But in 2006, a Miss USA contestant from Nevada, Katie Rees, was booted when revealing photos of her partying hard surfaced, proving that the pageant circuit in general still expects a strict level of approved decorum from its contestants and winners. And despite the Miss America organization's current embrace of Williams — who has held her head high admirably for more than thirty years now — it's hard to imagine how it would respond if a similar set of photos were to surface about a more current contestant. In 1984, those photos of Williams set off a wave of prudish shock and prurient curiosity not just because they were nude but because they were patently erotic, and some in a same-sex manner. They depicted a young woman — our Miss America — in the unclothed, seemingly tender embrace of another woman. Think that our relentless cultural appetite for anything that looks like scandal has abated one iota since? Then why do we have entertainment sites whose entire reason for being is nip slips? No other Miss America has had the career that Williams has had. No other Miss America has achieved what she has, and on her terms. Williams is now a successful, middle-aged mother. She is a respected actress and singer. She has nothing to prove. And while it's great that the Miss America pageant has acknowledged what it put her through back then, it's worth asking seriously how differently the institution really would behave now, toward another naive and exploited young girl?
Kiernan Shipka on her horror flick “February” and those Sally Draper “Mad Men” spinoff rumors: “It’s not a thing”
Of all of “Mad Men’s” breakout stars, Kiernan Shipka may have been Matthew Weiner’s greatest discovery. Beginning her portrayal of Sally Draper when she was just eight years old, viewers watched Shipka age before their eyes, becoming one of the most gifted young actresses working today and turning Sally into one of the show’s most rich and compelling characters. Naturally, “Mad Men” fans are excited to see what Shipka will do next, and I’m happy to report that her new Toronto Film Festival debut, “February” — an indie horror flick made by first-time director Osgood Perkins, son of "Psycho" star Anthony Perkins — is an instant classic (although I warn you, don't expect to see Sally Draper onscreen). The film centers on three young girls — Joan (Emma Roberts), Kat (Shipka) and Rose (Lucy Boynton), whose lives converge with shocking violence in the frozen February landscape. Kat and Rose are students at a prestigious rural boarding school, left alone for the winter holidays when their parents don't show up to come get them. As Kat becomes possessed by some unseen evil, the mysterious Joan -- with few possessions and haunted eyes -- begins a journey towards the school. I can’t say too much more without giving things away, but suffice to say, the film is a terrifying, melancholic, beautifully-shot film that evokes the artful old-school horror of movies like “Rosemary’s Baby” and grapples with complex ideas about grief, adolescence and the loss of one’s parents (it was inspired by the tragic deaths of the director's own parents, his father to AIDS and his mother in the 9/11 attacks, less than a decade apart). We spoke to the 15-year-old Shipka briefly at TIFF to ask her about horror films, letting go of Sally Draper, and what she's up to next. The film was so terrifying. What compelled you to want to make a horror movie? It was really the content, I loved the script and I loved what Oz [directer Osgood Perkins] had in mind. He had this great vision, he wanted it to be really artful and beautifully shot and I was just super down with his ideas and the character and the story. So I was really excited about that. I know that Oz was going for a sort of old school horror vibe — what sort of inspirations and influences did he give you to prepare? To prep he gave me "Rosemary’s Baby," "The Shining," the original "Carrie" and "Eraserhead," so kind of fun interesting films with a lot of depth, films that are really about the people with these scary really cool elements that kind of element. Are you brave enough to you watch them alone? I don’t know if I’m that bold. I cant remember if I’ve ever watched a horror movie alone, but certainly I’d hope there’d be other people at least in other rooms. I would never watch it in my house alone. That would be one step too far. The project is very female-centric: All three of the main characters are young women. Is it important to you at this stage to take on projects that have a strong female presence onscreen? Absolutely. Growing up on a show like "Mad Men" that had so many strong female characters, I was so influenced by that and appreciate that so much. What else do you look for in projects at this stage? I think for me what definitely drives it is the other people, like, oh, I would love to work with this person. Strong material and depth and emotion and layers, and that can definitely be there in comedy, I love comedy too. It’s kind of just finding a balance. I mean, I just love acting. What are you working on next? I have a few things that I'll be working on next year but for now I'm just focusing on school. Not to spoil anything, but your character is in some very graphic, violent scenes. Can you talk a bit about the experience of shooting those? The set remained very calm and really chill and that was really nice to sort of be able to cut the scene and then have a nice environment to be in, but it was really fun, the whole experience was great. I’d never really played a character like this. It was kind of a treat to be able to do that. Have you been keeping in touch with the Mad Men cast and with Matthew Weiner? Yeah! I ran into Elisabeth Moss twice today. She’s around here. And I’m excited to see anyone at the Emmys. I think Matthew was here too, it’s so funny, it’s like we’re all coming to Toronto at the same time. I have kept in touch with Matt and we’ve chatted a couple of times and can’t wait to see them all again. I feel like there will be a lot of “Mad Men” fans who go into “February” and expect Sally Draper and then see a lot of shocking things and you’re like — not Sally. Not so Sally!
Are you still attached to that character or are you ready to let her go and stop being asked about her? I think it’s one of those things where she will always be a real big impact on my life because she was such a strong character and such an amazing one, and I just feel so lucky to have played her. And I miss playing her too. Because I really do love the character and loved to get the opportunity to get to play her for such a long period of time, because that’s not something you get to do a lot, even if you are an actor. So no, I really do miss the show. Absolutely. Do you ever think about how Sally is doing -- how she would be coping with Betty’s death, for example? Obviously loss is an extraordinary hard thing and it affects everyone, but I think that the character is such a strong-willed character that while dealing with whatever it is that she’s dealing with in her life I think she could also really make something so great of herself because she’s really smart and I can see her being really successful. Any more word on this much-discussed Sally sequel? Oh, I don’t think there is any word. I’m definitely not not down. I mean [laughs] — It’s not a thing.Of all of “Mad Men’s” breakout stars, Kiernan Shipka may have been Matthew Weiner’s greatest discovery. Beginning her portrayal of Sally Draper when she was just eight years old, viewers watched Shipka age before their eyes, becoming one of the most gifted young actresses working today and turning Sally into one of the show’s most rich and compelling characters. Naturally, “Mad Men” fans are excited to see what Shipka will do next, and I’m happy to report that her new Toronto Film Festival debut, “February” — an indie horror flick made by first-time director Osgood Perkins, son of "Psycho" star Anthony Perkins — is an instant classic (although I warn you, don't expect to see Sally Draper onscreen). The film centers on three young girls — Joan (Emma Roberts), Kat (Shipka) and Rose (Lucy Boynton), whose lives converge with shocking violence in the frozen February landscape. Kat and Rose are students at a prestigious rural boarding school, left alone for the winter holidays when their parents don't show up to come get them. As Kat becomes possessed by some unseen evil, the mysterious Joan -- with few possessions and haunted eyes -- begins a journey towards the school. I can’t say too much more without giving things away, but suffice to say, the film is a terrifying, melancholic, beautifully-shot film that evokes the artful old-school horror of movies like “Rosemary’s Baby” and grapples with complex ideas about grief, adolescence and the loss of one’s parents (it was inspired by the tragic deaths of the director's own parents, his father to AIDS and his mother in the 9/11 attacks, less than a decade apart). We spoke to the 15-year-old Shipka briefly at TIFF to ask her about horror films, letting go of Sally Draper, and what she's up to next. The film was so terrifying. What compelled you to want to make a horror movie? It was really the content, I loved the script and I loved what Oz [directer Osgood Perkins] had in mind. He had this great vision, he wanted it to be really artful and beautifully shot and I was just super down with his ideas and the character and the story. So I was really excited about that. I know that Oz was going for a sort of old school horror vibe — what sort of inspirations and influences did he give you to prepare? To prep he gave me "Rosemary’s Baby," "The Shining," the original "Carrie" and "Eraserhead," so kind of fun interesting films with a lot of depth, films that are really about the people with these scary really cool elements that kind of element. Are you brave enough to you watch them alone? I don’t know if I’m that bold. I cant remember if I’ve ever watched a horror movie alone, but certainly I’d hope there’d be other people at least in other rooms. I would never watch it in my house alone. That would be one step too far. The project is very female-centric: All three of the main characters are young women. Is it important to you at this stage to take on projects that have a strong female presence onscreen? Absolutely. Growing up on a show like "Mad Men" that had so many strong female characters, I was so influenced by that and appreciate that so much. What else do you look for in projects at this stage? I think for me what definitely drives it is the other people, like, oh, I would love to work with this person. Strong material and depth and emotion and layers, and that can definitely be there in comedy, I love comedy too. It’s kind of just finding a balance. I mean, I just love acting. What are you working on next? I have a few things that I'll be working on next year but for now I'm just focusing on school. Not to spoil anything, but your character is in some very graphic, violent scenes. Can you talk a bit about the experience of shooting those? The set remained very calm and really chill and that was really nice to sort of be able to cut the scene and then have a nice environment to be in, but it was really fun, the whole experience was great. I’d never really played a character like this. It was kind of a treat to be able to do that. Have you been keeping in touch with the Mad Men cast and with Matthew Weiner? Yeah! I ran into Elisabeth Moss twice today. She’s around here. And I’m excited to see anyone at the Emmys. I think Matthew was here too, it’s so funny, it’s like we’re all coming to Toronto at the same time. I have kept in touch with Matt and we’ve chatted a couple of times and can’t wait to see them all again. I feel like there will be a lot of “Mad Men” fans who go into “February” and expect Sally Draper and then see a lot of shocking things and you’re like — not Sally. Not so Sally!
Are you still attached to that character or are you ready to let her go and stop being asked about her? I think it’s one of those things where she will always be a real big impact on my life because she was such a strong character and such an amazing one, and I just feel so lucky to have played her. And I miss playing her too. Because I really do love the character and loved to get the opportunity to get to play her for such a long period of time, because that’s not something you get to do a lot, even if you are an actor. So no, I really do miss the show. Absolutely. Do you ever think about how Sally is doing -- how she would be coping with Betty’s death, for example? Obviously loss is an extraordinary hard thing and it affects everyone, but I think that the character is such a strong-willed character that while dealing with whatever it is that she’s dealing with in her life I think she could also really make something so great of herself because she’s really smart and I can see her being really successful. Any more word on this much-discussed Sally sequel? Oh, I don’t think there is any word. I’m definitely not not down. I mean [laughs] — It’s not a thing.Of all of “Mad Men’s” breakout stars, Kiernan Shipka may have been Matthew Weiner’s greatest discovery. Beginning her portrayal of Sally Draper when she was just eight years old, viewers watched Shipka age before their eyes, becoming one of the most gifted young actresses working today and turning Sally into one of the show’s most rich and compelling characters. Naturally, “Mad Men” fans are excited to see what Shipka will do next, and I’m happy to report that her new Toronto Film Festival debut, “February” — an indie horror flick made by first-time director Osgood Perkins, son of "Psycho" star Anthony Perkins — is an instant classic (although I warn you, don't expect to see Sally Draper onscreen). The film centers on three young girls — Joan (Emma Roberts), Kat (Shipka) and Rose (Lucy Boynton), whose lives converge with shocking violence in the frozen February landscape. Kat and Rose are students at a prestigious rural boarding school, left alone for the winter holidays when their parents don't show up to come get them. As Kat becomes possessed by some unseen evil, the mysterious Joan -- with few possessions and haunted eyes -- begins a journey towards the school. I can’t say too much more without giving things away, but suffice to say, the film is a terrifying, melancholic, beautifully-shot film that evokes the artful old-school horror of movies like “Rosemary’s Baby” and grapples with complex ideas about grief, adolescence and the loss of one’s parents (it was inspired by the tragic deaths of the director's own parents, his father to AIDS and his mother in the 9/11 attacks, less than a decade apart). We spoke to the 15-year-old Shipka briefly at TIFF to ask her about horror films, letting go of Sally Draper, and what she's up to next. The film was so terrifying. What compelled you to want to make a horror movie? It was really the content, I loved the script and I loved what Oz [directer Osgood Perkins] had in mind. He had this great vision, he wanted it to be really artful and beautifully shot and I was just super down with his ideas and the character and the story. So I was really excited about that. I know that Oz was going for a sort of old school horror vibe — what sort of inspirations and influences did he give you to prepare? To prep he gave me "Rosemary’s Baby," "The Shining," the original "Carrie" and "Eraserhead," so kind of fun interesting films with a lot of depth, films that are really about the people with these scary really cool elements that kind of element. Are you brave enough to you watch them alone? I don’t know if I’m that bold. I cant remember if I’ve ever watched a horror movie alone, but certainly I’d hope there’d be other people at least in other rooms. I would never watch it in my house alone. That would be one step too far. The project is very female-centric: All three of the main characters are young women. Is it important to you at this stage to take on projects that have a strong female presence onscreen? Absolutely. Growing up on a show like "Mad Men" that had so many strong female characters, I was so influenced by that and appreciate that so much. What else do you look for in projects at this stage? I think for me what definitely drives it is the other people, like, oh, I would love to work with this person. Strong material and depth and emotion and layers, and that can definitely be there in comedy, I love comedy too. It’s kind of just finding a balance. I mean, I just love acting. What are you working on next? I have a few things that I'll be working on next year but for now I'm just focusing on school. Not to spoil anything, but your character is in some very graphic, violent scenes. Can you talk a bit about the experience of shooting those? The set remained very calm and really chill and that was really nice to sort of be able to cut the scene and then have a nice environment to be in, but it was really fun, the whole experience was great. I’d never really played a character like this. It was kind of a treat to be able to do that. Have you been keeping in touch with the Mad Men cast and with Matthew Weiner? Yeah! I ran into Elisabeth Moss twice today. She’s around here. And I’m excited to see anyone at the Emmys. I think Matthew was here too, it’s so funny, it’s like we’re all coming to Toronto at the same time. I have kept in touch with Matt and we’ve chatted a couple of times and can’t wait to see them all again. I feel like there will be a lot of “Mad Men” fans who go into “February” and expect Sally Draper and then see a lot of shocking things and you’re like — not Sally. Not so Sally!
Are you still attached to that character or are you ready to let her go and stop being asked about her? I think it’s one of those things where she will always be a real big impact on my life because she was such a strong character and such an amazing one, and I just feel so lucky to have played her. And I miss playing her too. Because I really do love the character and loved to get the opportunity to get to play her for such a long period of time, because that’s not something you get to do a lot, even if you are an actor. So no, I really do miss the show. Absolutely. Do you ever think about how Sally is doing -- how she would be coping with Betty’s death, for example? Obviously loss is an extraordinary hard thing and it affects everyone, but I think that the character is such a strong-willed character that while dealing with whatever it is that she’s dealing with in her life I think she could also really make something so great of herself because she’s really smart and I can see her being really successful. Any more word on this much-discussed Sally sequel? Oh, I don’t think there is any word. I’m definitely not not down. I mean [laughs] — It’s not a thing.
Young Brooklyn artist redefines the selfie in her new show: “It is not about vanity.”
Multimedia artist Rafia Santana, 25, has given new meaning to the "selfie." Webster dictionary will tell you that a "selfie" is simply an image taken of one's self, but Santana's SELFiE exhibition on display at Brooklyn's Museum of Contemporary African Diasporan Arts (MoCADA) shows that it is much more. Watch the up-and-coming artist redefine the meaning of selfie: [jwplayer file="http://media.salon.com/2015/09/RafiaS..." image="http://media.salon.com/2015/09/Screen...] Santana has combined images of herself with graphically created backgrounds and soundscapes to take viewers on a "journey of her self-care methods." Each image is accompanied by one of Santana's original songs because as she says, "visuals and music speak to eachother." The images reflect the exploration of her blackness, feminity and mental health, Santana said. Suffering from anxiety and depression as a result of being a young black woman, she uses art as her outlet. "Anybody who thinks selfies are only vain wants to reduce the importance of a human being. I am not sure where the judgment comes from,"she said in an interview with the Huffington Post. "We should all be reflective of ourselves whether we are in a good place or bad place." "Selfies help to bring us out of a bad place to uplift ourselves and connect with others." [caption id="attachment_14072310" align="aligncenter" width="225"]
RAFiA SANTANA, PAiNT ME PUKiNG (2014)[/caption] [caption id="attachment_14072313" align="aligncenter" width="225"]
RAFiA SANTANA, PAiNT ME PUKiNG (2014)[/caption] [caption id="attachment_14072314" align="aligncenter" width="225"]
RAFiA SANTANA, RAFiA (Above), 2014[/caption] SELFiE is on view in the window gallery of the MoCADA on South Portland Avenue in Fort Greene, Brooklyn until September 27, 2015.Multimedia artist Rafia Santana, 25, has given new meaning to the "selfie." Webster dictionary will tell you that a "selfie" is simply an image taken of one's self, but Santana's SELFiE exhibition on display at Brooklyn's Museum of Contemporary African Diasporan Arts (MoCADA) shows that it is much more. Watch the up-and-coming artist redefine the meaning of selfie: [jwplayer file="http://media.salon.com/2015/09/RafiaS..." image="http://media.salon.com/2015/09/Screen...] Santana has combined images of herself with graphically created backgrounds and soundscapes to take viewers on a "journey of her self-care methods." Each image is accompanied by one of Santana's original songs because as she says, "visuals and music speak to eachother." The images reflect the exploration of her blackness, feminity and mental health, Santana said. Suffering from anxiety and depression as a result of being a young black woman, she uses art as her outlet. "Anybody who thinks selfies are only vain wants to reduce the importance of a human being. I am not sure where the judgment comes from,"she said in an interview with the Huffington Post. "We should all be reflective of ourselves whether we are in a good place or bad place." "Selfies help to bring us out of a bad place to uplift ourselves and connect with others." [caption id="attachment_14072310" align="aligncenter" width="225"]
RAFiA SANTANA, PAiNT ME PUKiNG (2014)[/caption] [caption id="attachment_14072313" align="aligncenter" width="225"]
RAFiA SANTANA, PAiNT ME PUKiNG (2014)[/caption] [caption id="attachment_14072314" align="aligncenter" width="225"]
RAFiA SANTANA, RAFiA (Above), 2014[/caption] SELFiE is on view in the window gallery of the MoCADA on South Portland Avenue in Fort Greene, Brooklyn until September 27, 2015.
RAFiA SANTANA, PAiNT ME PUKiNG (2014)[/caption] [caption id="attachment_14072313" align="aligncenter" width="225"]
RAFiA SANTANA, PAiNT ME PUKiNG (2014)[/caption] [caption id="attachment_14072314" align="aligncenter" width="225"]
RAFiA SANTANA, RAFiA (Above), 2014[/caption] SELFiE is on view in the window gallery of the MoCADA on South Portland Avenue in Fort Greene, Brooklyn until September 27, 2015.Multimedia artist Rafia Santana, 25, has given new meaning to the "selfie." Webster dictionary will tell you that a "selfie" is simply an image taken of one's self, but Santana's SELFiE exhibition on display at Brooklyn's Museum of Contemporary African Diasporan Arts (MoCADA) shows that it is much more. Watch the up-and-coming artist redefine the meaning of selfie: [jwplayer file="http://media.salon.com/2015/09/RafiaS..." image="http://media.salon.com/2015/09/Screen...] Santana has combined images of herself with graphically created backgrounds and soundscapes to take viewers on a "journey of her self-care methods." Each image is accompanied by one of Santana's original songs because as she says, "visuals and music speak to eachother." The images reflect the exploration of her blackness, feminity and mental health, Santana said. Suffering from anxiety and depression as a result of being a young black woman, she uses art as her outlet. "Anybody who thinks selfies are only vain wants to reduce the importance of a human being. I am not sure where the judgment comes from,"she said in an interview with the Huffington Post. "We should all be reflective of ourselves whether we are in a good place or bad place." "Selfies help to bring us out of a bad place to uplift ourselves and connect with others." [caption id="attachment_14072310" align="aligncenter" width="225"]
RAFiA SANTANA, PAiNT ME PUKiNG (2014)[/caption] [caption id="attachment_14072313" align="aligncenter" width="225"]
RAFiA SANTANA, PAiNT ME PUKiNG (2014)[/caption] [caption id="attachment_14072314" align="aligncenter" width="225"]
RAFiA SANTANA, RAFiA (Above), 2014[/caption] SELFiE is on view in the window gallery of the MoCADA on South Portland Avenue in Fort Greene, Brooklyn until September 27, 2015.
Irrelevant Scott Walker hits new low: Why his latest assault on workers won’t save his sinking campaign
Fresh off a 10th place finish in the most recent Quinnipiac Iowa poll, Wisconsin Gov. Scott Walker thinks it’s time to return to the policies that launched his national political career. On Monday he’ll announce a brutal assault on labor rights that would strip away worker protections earned as far back as the New Deal. The flailing Walker has previewed a policy agenda that includes eliminating unions for federal employees, making all workplaces “right-to-work” unless states opt out, and eliminating the National Labor Relations Board. "This will not be easy," Walker told the Associated Press. "Many — including the union bosses and the politicians they puppet — have long benefited from Washington rules that put the needs of special interests before needs of middle-class families." The time and place of Walker’s announcement ought to prove to America once and for all that he’s dumb as a box of rocks. Walker is rolling out his anti-union agenda in Las Vegas, one of the most heavily unionized cities in America. Ninety percent of the jobs in Vegas hotels are union jobs, and almost half of all non-supervisor positions in the hotel, restaurant and gaming industries are unionized, compared to 19 percent of such jobs nationwide. Meanwhile, in the last few days analysts have drilled to the core of Donald Trump’s base to identify his most fervent supporters: working class white men. That once-loyal Democratic voting bloc has been steadily trending Republican since the days of Richard Nixon. Now they see their savior in a bloviating billionaire who brags about how he’s going to improve their lives but never quite says how. So does Walker think he’s got a plan to win these men back from Trump? I’m pretty sure they aren’t sitting around the tavern grousing, “That damn NLRB! That’s the reason I haven’t gotten a raise in 15 years!” But Walker is a master of the politics of resentment, turning Wisconsin into an ideological war zone and pitting the good white people of the state against the cities, particularly heavily African American Milwaukee. In his crusade against public sector unions, Walker counted on the ire of private sector workers who’ve watched their own wages and benefits decline, at paying for a public sector where employees have it better than they do. In that prank phone call he received from “David Koch” in 2011 – it was actually Buffalo disc jockey Ian Kennedy -- Walker boasted of a story in which “every stereotypical blue-collar worker type” supported his moves against public sector unions. (Actually, falling for the Koch prank was an early sign that Walker isn’t too bright, but the local and national media dismissed it and moved on.) Still, it’s hard to believe that Walker will cut into Trump’s lead with a bold play to crush unions. It will be interesting to see how Trump responds. He may even take a populist approach and frame Walker’s move as a sop to his plutocratic paymasters like the Kochs. One thing is clear: Walker’s been trying to reboot his campaign with tough talk about how he’s going to “wreak havoc” on Washington. I’m not sure he understands the term, but it’s evident he’s already wreaked havoc on his own campaign. Polling 10th in Iowa, with 3 percent, is a disaster for a guy who staked his entire campaign on his appeal in the nearby state. Instead, he’s closer to joining Rick Perry on the list of former 2016 candidates than to winning the crucial first caucus state. 
Fresh off a 10th place finish in the most recent Quinnipiac Iowa poll, Wisconsin Gov. Scott Walker thinks it’s time to return to the policies that launched his national political career. On Monday he’ll announce a brutal assault on labor rights that would strip away worker protections earned as far back as the New Deal. The flailing Walker has previewed a policy agenda that includes eliminating unions for federal employees, making all workplaces “right-to-work” unless states opt out, and eliminating the National Labor Relations Board. "This will not be easy," Walker told the Associated Press. "Many — including the union bosses and the politicians they puppet — have long benefited from Washington rules that put the needs of special interests before needs of middle-class families." The time and place of Walker’s announcement ought to prove to America once and for all that he’s dumb as a box of rocks. Walker is rolling out his anti-union agenda in Las Vegas, one of the most heavily unionized cities in America. Ninety percent of the jobs in Vegas hotels are union jobs, and almost half of all non-supervisor positions in the hotel, restaurant and gaming industries are unionized, compared to 19 percent of such jobs nationwide. Meanwhile, in the last few days analysts have drilled to the core of Donald Trump’s base to identify his most fervent supporters: working class white men. That once-loyal Democratic voting bloc has been steadily trending Republican since the days of Richard Nixon. Now they see their savior in a bloviating billionaire who brags about how he’s going to improve their lives but never quite says how. So does Walker think he’s got a plan to win these men back from Trump? I’m pretty sure they aren’t sitting around the tavern grousing, “That damn NLRB! That’s the reason I haven’t gotten a raise in 15 years!” But Walker is a master of the politics of resentment, turning Wisconsin into an ideological war zone and pitting the good white people of the state against the cities, particularly heavily African American Milwaukee. In his crusade against public sector unions, Walker counted on the ire of private sector workers who’ve watched their own wages and benefits decline, at paying for a public sector where employees have it better than they do. In that prank phone call he received from “David Koch” in 2011 – it was actually Buffalo disc jockey Ian Kennedy -- Walker boasted of a story in which “every stereotypical blue-collar worker type” supported his moves against public sector unions. (Actually, falling for the Koch prank was an early sign that Walker isn’t too bright, but the local and national media dismissed it and moved on.) Still, it’s hard to believe that Walker will cut into Trump’s lead with a bold play to crush unions. It will be interesting to see how Trump responds. He may even take a populist approach and frame Walker’s move as a sop to his plutocratic paymasters like the Kochs. One thing is clear: Walker’s been trying to reboot his campaign with tough talk about how he’s going to “wreak havoc” on Washington. I’m not sure he understands the term, but it’s evident he’s already wreaked havoc on his own campaign. Polling 10th in Iowa, with 3 percent, is a disaster for a guy who staked his entire campaign on his appeal in the nearby state. Instead, he’s closer to joining Rick Perry on the list of former 2016 candidates than to winning the crucial first caucus state. Fresh off a 10th place finish in the most recent Quinnipiac Iowa poll, Wisconsin Gov. Scott Walker thinks it’s time to return to the policies that launched his national political career. On Monday he’ll announce a brutal assault on labor rights that would strip away worker protections earned as far back as the New Deal. The flailing Walker has previewed a policy agenda that includes eliminating unions for federal employees, making all workplaces “right-to-work” unless states opt out, and eliminating the National Labor Relations Board. "This will not be easy," Walker told the Associated Press. "Many — including the union bosses and the politicians they puppet — have long benefited from Washington rules that put the needs of special interests before needs of middle-class families." The time and place of Walker’s announcement ought to prove to America once and for all that he’s dumb as a box of rocks. Walker is rolling out his anti-union agenda in Las Vegas, one of the most heavily unionized cities in America. Ninety percent of the jobs in Vegas hotels are union jobs, and almost half of all non-supervisor positions in the hotel, restaurant and gaming industries are unionized, compared to 19 percent of such jobs nationwide. Meanwhile, in the last few days analysts have drilled to the core of Donald Trump’s base to identify his most fervent supporters: working class white men. That once-loyal Democratic voting bloc has been steadily trending Republican since the days of Richard Nixon. Now they see their savior in a bloviating billionaire who brags about how he’s going to improve their lives but never quite says how. So does Walker think he’s got a plan to win these men back from Trump? I’m pretty sure they aren’t sitting around the tavern grousing, “That damn NLRB! That’s the reason I haven’t gotten a raise in 15 years!” But Walker is a master of the politics of resentment, turning Wisconsin into an ideological war zone and pitting the good white people of the state against the cities, particularly heavily African American Milwaukee. In his crusade against public sector unions, Walker counted on the ire of private sector workers who’ve watched their own wages and benefits decline, at paying for a public sector where employees have it better than they do. In that prank phone call he received from “David Koch” in 2011 – it was actually Buffalo disc jockey Ian Kennedy -- Walker boasted of a story in which “every stereotypical blue-collar worker type” supported his moves against public sector unions. (Actually, falling for the Koch prank was an early sign that Walker isn’t too bright, but the local and national media dismissed it and moved on.) Still, it’s hard to believe that Walker will cut into Trump’s lead with a bold play to crush unions. It will be interesting to see how Trump responds. He may even take a populist approach and frame Walker’s move as a sop to his plutocratic paymasters like the Kochs. One thing is clear: Walker’s been trying to reboot his campaign with tough talk about how he’s going to “wreak havoc” on Washington. I’m not sure he understands the term, but it’s evident he’s already wreaked havoc on his own campaign. Polling 10th in Iowa, with 3 percent, is a disaster for a guy who staked his entire campaign on his appeal in the nearby state. Instead, he’s closer to joining Rick Perry on the list of former 2016 candidates than to winning the crucial first caucus state.
Fresh off a 10th place finish in the most recent Quinnipiac Iowa poll, Wisconsin Gov. Scott Walker thinks it’s time to return to the policies that launched his national political career. On Monday he’ll announce a brutal assault on labor rights that would strip away worker protections earned as far back as the New Deal. The flailing Walker has previewed a policy agenda that includes eliminating unions for federal employees, making all workplaces “right-to-work” unless states opt out, and eliminating the National Labor Relations Board. "This will not be easy," Walker told the Associated Press. "Many — including the union bosses and the politicians they puppet — have long benefited from Washington rules that put the needs of special interests before needs of middle-class families." The time and place of Walker’s announcement ought to prove to America once and for all that he’s dumb as a box of rocks. Walker is rolling out his anti-union agenda in Las Vegas, one of the most heavily unionized cities in America. Ninety percent of the jobs in Vegas hotels are union jobs, and almost half of all non-supervisor positions in the hotel, restaurant and gaming industries are unionized, compared to 19 percent of such jobs nationwide. Meanwhile, in the last few days analysts have drilled to the core of Donald Trump’s base to identify his most fervent supporters: working class white men. That once-loyal Democratic voting bloc has been steadily trending Republican since the days of Richard Nixon. Now they see their savior in a bloviating billionaire who brags about how he’s going to improve their lives but never quite says how. So does Walker think he’s got a plan to win these men back from Trump? I’m pretty sure they aren’t sitting around the tavern grousing, “That damn NLRB! That’s the reason I haven’t gotten a raise in 15 years!” But Walker is a master of the politics of resentment, turning Wisconsin into an ideological war zone and pitting the good white people of the state against the cities, particularly heavily African American Milwaukee. In his crusade against public sector unions, Walker counted on the ire of private sector workers who’ve watched their own wages and benefits decline, at paying for a public sector where employees have it better than they do. In that prank phone call he received from “David Koch” in 2011 – it was actually Buffalo disc jockey Ian Kennedy -- Walker boasted of a story in which “every stereotypical blue-collar worker type” supported his moves against public sector unions. (Actually, falling for the Koch prank was an early sign that Walker isn’t too bright, but the local and national media dismissed it and moved on.) Still, it’s hard to believe that Walker will cut into Trump’s lead with a bold play to crush unions. It will be interesting to see how Trump responds. He may even take a populist approach and frame Walker’s move as a sop to his plutocratic paymasters like the Kochs. One thing is clear: Walker’s been trying to reboot his campaign with tough talk about how he’s going to “wreak havoc” on Washington. I’m not sure he understands the term, but it’s evident he’s already wreaked havoc on his own campaign. Polling 10th in Iowa, with 3 percent, is a disaster for a guy who staked his entire campaign on his appeal in the nearby state. Instead, he’s closer to joining Rick Perry on the list of former 2016 candidates than to winning the crucial first caucus state. Fresh off a 10th place finish in the most recent Quinnipiac Iowa poll, Wisconsin Gov. Scott Walker thinks it’s time to return to the policies that launched his national political career. On Monday he’ll announce a brutal assault on labor rights that would strip away worker protections earned as far back as the New Deal. The flailing Walker has previewed a policy agenda that includes eliminating unions for federal employees, making all workplaces “right-to-work” unless states opt out, and eliminating the National Labor Relations Board. "This will not be easy," Walker told the Associated Press. "Many — including the union bosses and the politicians they puppet — have long benefited from Washington rules that put the needs of special interests before needs of middle-class families." The time and place of Walker’s announcement ought to prove to America once and for all that he’s dumb as a box of rocks. Walker is rolling out his anti-union agenda in Las Vegas, one of the most heavily unionized cities in America. Ninety percent of the jobs in Vegas hotels are union jobs, and almost half of all non-supervisor positions in the hotel, restaurant and gaming industries are unionized, compared to 19 percent of such jobs nationwide. Meanwhile, in the last few days analysts have drilled to the core of Donald Trump’s base to identify his most fervent supporters: working class white men. That once-loyal Democratic voting bloc has been steadily trending Republican since the days of Richard Nixon. Now they see their savior in a bloviating billionaire who brags about how he’s going to improve their lives but never quite says how. So does Walker think he’s got a plan to win these men back from Trump? I’m pretty sure they aren’t sitting around the tavern grousing, “That damn NLRB! That’s the reason I haven’t gotten a raise in 15 years!” But Walker is a master of the politics of resentment, turning Wisconsin into an ideological war zone and pitting the good white people of the state against the cities, particularly heavily African American Milwaukee. In his crusade against public sector unions, Walker counted on the ire of private sector workers who’ve watched their own wages and benefits decline, at paying for a public sector where employees have it better than they do. In that prank phone call he received from “David Koch” in 2011 – it was actually Buffalo disc jockey Ian Kennedy -- Walker boasted of a story in which “every stereotypical blue-collar worker type” supported his moves against public sector unions. (Actually, falling for the Koch prank was an early sign that Walker isn’t too bright, but the local and national media dismissed it and moved on.) Still, it’s hard to believe that Walker will cut into Trump’s lead with a bold play to crush unions. It will be interesting to see how Trump responds. He may even take a populist approach and frame Walker’s move as a sop to his plutocratic paymasters like the Kochs. One thing is clear: Walker’s been trying to reboot his campaign with tough talk about how he’s going to “wreak havoc” on Washington. I’m not sure he understands the term, but it’s evident he’s already wreaked havoc on his own campaign. Polling 10th in Iowa, with 3 percent, is a disaster for a guy who staked his entire campaign on his appeal in the nearby state. Instead, he’s closer to joining Rick Perry on the list of former 2016 candidates than to winning the crucial first caucus state.
A staggering number of Republicans believe President Obama is a Muslim
A new CNN/ORC poll has found that nearly 30 percent of all Americans do not believe the president is a Christian, including 43 percent of Republicans who say he is a Muslim, while 20 percent of all adults believe he was born outside the United States. In 2012, when Gallup asked "do you happen to know the religious faith of Barack Obama?" 47 percent of Republicans claimed to have no idea. 43 percent are now certain he is a Muslim, up from the 34 percent of Republicans who told Pew in 2010 that they believed he was a Muslim. While Republicans' views on President Obama's religion seem to be entrenched in fallacy, their views on his citizenship have become more reasonable. Despite the nation's most prominent birther dominating the Republican presidential field, the poll also finds that most Republicans have accepted that President Obama was born in Hawaii, not Kenya. CNN reports that 71 percent of all Republican and Republican-leaning voters were satisfied by Obama's 2011 release of his long-form birth certificate after Donald Trump sent a team of investigators to Hawaii to uncover "one of the greatest cons in the history of politics and beyond." "I don’t know why he wouldn’t release his records," Trump told CNN's Anderson Cooper in July, refusing to backdown from his perch as king of the birthers. According to this latest poll however, 61 percent of Trump's supporters think President Obama was born in the United States. Still, 20 percent of all Americans believe Obama was born outside the United States, with nine percent bizarrely claiming to have solid evidence to prove it. On that last point, CNN's poll seems to be in stark contrast with a recent PPP poll that found that 61 percent of Trump supporters believed that Obama was born outside of the United States, with 66 percent falsely believing he is a Muslim. 
A new CNN/ORC poll has found that nearly 30 percent of all Americans do not believe the president is a Christian, including 43 percent of Republicans who say he is a Muslim, while 20 percent of all adults believe he was born outside the United States. In 2012, when Gallup asked "do you happen to know the religious faith of Barack Obama?" 47 percent of Republicans claimed to have no idea. 43 percent are now certain he is a Muslim, up from the 34 percent of Republicans who told Pew in 2010 that they believed he was a Muslim. While Republicans' views on President Obama's religion seem to be entrenched in fallacy, their views on his citizenship have become more reasonable. Despite the nation's most prominent birther dominating the Republican presidential field, the poll also finds that most Republicans have accepted that President Obama was born in Hawaii, not Kenya. CNN reports that 71 percent of all Republican and Republican-leaning voters were satisfied by Obama's 2011 release of his long-form birth certificate after Donald Trump sent a team of investigators to Hawaii to uncover "one of the greatest cons in the history of politics and beyond." "I don’t know why he wouldn’t release his records," Trump told CNN's Anderson Cooper in July, refusing to backdown from his perch as king of the birthers. According to this latest poll however, 61 percent of Trump's supporters think President Obama was born in the United States. Still, 20 percent of all Americans believe Obama was born outside the United States, with nine percent bizarrely claiming to have solid evidence to prove it. On that last point, CNN's poll seems to be in stark contrast with a recent PPP poll that found that 61 percent of Trump supporters believed that Obama was born outside of the United States, with 66 percent falsely believing he is a Muslim.
A new CNN/ORC poll has found that nearly 30 percent of all Americans do not believe the president is a Christian, including 43 percent of Republicans who say he is a Muslim, while 20 percent of all adults believe he was born outside the United States. In 2012, when Gallup asked "do you happen to know the religious faith of Barack Obama?" 47 percent of Republicans claimed to have no idea. 43 percent are now certain he is a Muslim, up from the 34 percent of Republicans who told Pew in 2010 that they believed he was a Muslim. While Republicans' views on President Obama's religion seem to be entrenched in fallacy, their views on his citizenship have become more reasonable. Despite the nation's most prominent birther dominating the Republican presidential field, the poll also finds that most Republicans have accepted that President Obama was born in Hawaii, not Kenya. CNN reports that 71 percent of all Republican and Republican-leaning voters were satisfied by Obama's 2011 release of his long-form birth certificate after Donald Trump sent a team of investigators to Hawaii to uncover "one of the greatest cons in the history of politics and beyond." "I don’t know why he wouldn’t release his records," Trump told CNN's Anderson Cooper in July, refusing to backdown from his perch as king of the birthers. According to this latest poll however, 61 percent of Trump's supporters think President Obama was born in the United States. Still, 20 percent of all Americans believe Obama was born outside the United States, with nine percent bizarrely claiming to have solid evidence to prove it. On that last point, CNN's poll seems to be in stark contrast with a recent PPP poll that found that 61 percent of Trump supporters believed that Obama was born outside of the United States, with 66 percent falsely believing he is a Muslim.
August 28, 2015
Stafford, Bortles shine as Lions beat Jaguars 22-17
JACKSONVILLE, Fla. (AP) — Matthew Stafford completed 11 of 15 passes for 173 yards and two touchdowns, helping the Detroit Lions beat the Jacksonville Jaguars 22-17 in a preseason game Friday night.
The Lions (2-1) trailed most of the night, but rookie Zach Zenner’s 3-yard touchdown run with 1:41 remaining was the winner.
Detroit played without star receiver Calvin Johnson for the third consecutive game, but Stafford carved up Jacksonville’s secondary in a half of work. Stafford threw a perfect deep ball to Golden Tate for a 62-yarder in the second quarter and then hooked up with Corey Fuller for a 4-yard score.
Zenner had a 41-yard scamper that set up Fuller’s score. He finished with 85 yards on eight carries.
Blake Bortles was the story again for Jacksonville (1-2). He completed 20 of 29 passes for 245 yards and a touchdown. He also ran for 38 yards, including two third-down scrambles that kept scoring drives alive.
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AP NFL website: www.pro32.ap.org and www.twitter.com/AP_NFL
Vin Scully to return for record 67th year with Dodgers
LOS ANGELES (AP) — Vin Scully will return for a record 67th season in the broadcast booth for the Los Angeles Dodgers.
The news was revealed in the second inning of Friday night’s game against the Chicago Cubs.
Late-night TV host Jimmy Kimmel appeared on the Dodger Stadium video board and told the crowd via cue cards without uttering a sound.
His last card read: “God bless us everyone.”
The 87-year-old Scully stood up and waved from his booth as the crowd cheered.
The Hall of Fame announcer continues to enjoy describing the action on the field. His consecutive years of service make him the longest-tenured broadcaster with one team in sports history.
Redskins say QB Griffin to miss Ravens game
ASHBURN, Va. (AP) — The Washington Redskins say quarterback Robert Griffin III will miss Saturday’s exhibition game at the Baltimore Ravens because of a concussion, reversing an earlier decision to let him play.
In a statement released Friday by the Redskins, NFL independent neurologist Robert Kurtzke is quoted as saying that Griffin “should be held from gameplay this weekend and be retested in one (to) two weeks before a firm conclusion to return to gameplay can be made.”
Griffin left last week’s exhibition game against Detroit with what Redskins coach Jay Gruden said afterward was a concussion. The Redskins announced Thursday that Griffin had been cleared to play this weekend.
