Florida Teenager Calls Out Yearbook for Pics of Ponchos, Sombreros, Mustaches & ‘Border Patrol’
This just in from local Florida media. We have no words, except to say this: You go, Jessica Morales, for speaking out and letting the world know that this is 2015, and this just needs to stop. Just watch.
The whole issue started via social media (what a surprise):
And this is the statement from Collier County Public Schools:
The picture in question is from Naples High School’s Spirit week. The Naples High yearbook staff has a vetting process for which all content is reviewed. If anyone on the yearbook team finds a picture questionable, the yearbook sponsor brings it forward to Principal Saba. That regrettably did not happen in this case. Mr. Saba stated, “We regret if any Golden Eagle student, parent, or community member found it offensive. It was not our intent.”
Pompeii (Naples), May 20 - The exhibition “Pompeii and Europe: 1748-1943” will show the harrowing human agony wrought by the catastrophic eruption of Mount Vesuvius that buried the Roman city in 79 A.D. starting May 26. Eighty-six casts of victims, all in the final phases of restoration, will be shown in the joint exhibit at the Pompeii archaeological site and the National Archaeological Museum of Naples.
Teeth protrude from lips stretched from pain. Smoldering, encrusted skin, protruding skulls and bones, exposed jaws were all caught in the moment of death, when a glowing, 300C cloud seared surfaces of the bodies in a single stroke, leaving their insides soft, and burying them under ash and stones. Among them is the family of the House of the Golden Bracelet: a woman with a baby on her lap. Near her is a man and another child, perhaps two years old. “Until now they had never been surveyed, out of a sense of ethics with which these human remains were always treated. Read more.
Gustaf Söderberg painted The Grotto of Posillipo, Naples in 1820.
Though now the site is not necessarily recognizable, it was once a fairly well known image. The Metropolitan Museum writes that “it became an icon of the Grand Tour in the eighteenth century, in part because of
its proximity to Virgil’s Tomb, which is situated above it.”
So young men of a certain social class would have seen the image, not merely as a lovely and anonymous landscape, but as a memory of a familiar place.