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Limited stock Phsics.Private Alumni hoodies at EUR40, USD45, ZAR400 upon email

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S p e c i a l T h a n k s

PhsicsMedia (2012)Tebogo Mohlahlana@tebzphsicssoulphsics07@gmail.comsoulphsics.blogspot.com

The following people have contributed immensely to the success of this publication

Shruti & Bharat Parekh

Truth Be Cold

Jeff Sheldon

Andreas von der Heide

Sanjeet Hothi

Vanessa Bolosier

Leebo & Ramokokone Mohlahlana

My sincere thanks to all of you

- Tebs

Feat

ures

Sup

plem

entsP

rofi

les

We explore Atlanta’s bustling art scene with our friends at Ugmonk

We set out to discover the world of aspirational private apparel brands

Japanese denim; find out what makes it so special

Regal Coffee? We head out to Guadeloupe to find out

Who’s that Awkward Black Girl everyone’s been on about?

That iconic image of Che Guavara? The photographer who captured it

Sustainability

Why greener and efficeint value chains can also be adapted to large scale apparel manufacturing

This top-end Canadian footwear brand prefers to source its entire manufacturing from Ethiopia. Find out why

Branding

Is “trading down” a threat to brand loyalty? Find out

what’s inside?

Middle of Nowhere poster source: XXXXX

Middle of Nowhere poster source: XXXXX

E d i t o r ’ s n o t e

I recently came across a startling figure; of the world’s 7 billion population only 2.5 billion people have access to the internet. To put it plainly, about 4.5 billion people aren’t particularly concerned with setting up a Facebook profile, and they seem to be getting on with their lives! Is there a correlation between internet access and a higher standard of living? I suppose so, but it also has to depend on how the ‘higher standard of living’ is defined. Allow me to ask, what if we, the people with access to all these ‘resources’, are the intruders? What if, to the majority of the world’s popula-tion, it’s normal not to take a photo of what you’re about to have for lunch and shar-ing it with other people?

It seems that in recent years we’ve started witnessing the rise of vast groups of likeminded individuals who think the exact same things; as categorically reinforced by things like Twitter’s ‘trending topic’ phenomenon. These people sound the same, dress the same; as they’re likely to shop at a Zara, H&M, Topshop among others, socialize in the exact same manner, and believe it or not, they even have a similar way of reasoning and interpreting things - and I’ll be accused of ‘generalizing’. Now let’s put ourselves in the shoes of the 4.5 billion people who aren’t online. How do they make shopping decisions without reading online product reviews? I suppose the same way human beings have been making decisions for millennia. Do they become friends with total strangers? Umm…absolutely!

The world is currently undergoing a hegemonic shift in not just the economic sphere, but culturally also. A few decades from today we may find ourselves talking about Lusophone movies from Brazil more than Hollywood ones. A few decades from to-day, it might be more worthwhile for most to visit Shanghai than Paris. Before we can claim to be ‘advanced’ in almost every aspect of our existence, reinforced by an optic-fibre cable and the ability to get a word’s definition in an instant, we cannot lose touch with our ‘actual’ world. We simply cannot afford to sit back and allow our world to become more boxed up in front of our eyes.

- Tebs

music

zodiac

novel

vince staples x michael uzowuru

toro y moi

Winter In Praguelabel: unsigned production: Michael UzowuruLong Beach, CA

Zodiaclabel: Vase Recordsproduction: Jeremy RoseToronto, ON

Under Water, Overwhelmedlabel: Tune Pusherproduction: Justin KahlerAtlanta, GA

Anything In Returnlabel: Carpark Recordsproduction: Chaz BundickColumbia, SC

king krule

Rock Bottom EPlabel: Rinse/Independent production: King KruleLondon, UK

blogs

Luxury In Progress

Ajanaku

I See A Different You

Milk Made

IAMOTHER

filmThe Ambassador [dir. Mads Brugger]

How to Steal 2 mil l ion [dir. Charl ie Vundla]

Place beyond the Pines [dir. Derek Cianfrance]

Beasts of the Southern Wild [dir. Benh Zeitl in]

Fishing Without Nets [dir. Cutter Hodierne]

2010-2011 2011-2012

t imeless .

ugmonk

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phsicsmag

Namedrop presented by

t-shirts by Ugmonk

words by Tebogo Mohlahlana

Photography credits: Bharat Parekh & Truth Be Cold

The Space Cadet

Truth Be Cold

“a neo-hippie what they calling me/ I could care less, I just wanna do my artistry”

ugmonk x phsicsmag

ugmonk x phsicsmag

One artist I’ve come to respect is Truth Be Cold. The inability for rap music to transorm itself in re-cent years has given birth to a generation of art-ists who do nothing but celebrate ignorance. That’s why kats are always concerned with what’s new and what’s “real”. I don’t want to touch on those as-pects. Back to Truth Be, songs like Can You Relate and Brain=Sun always remind me of the different struggles that many young Black males like myself go through. Truth Be brings an element of unapolo-getic substance to a somewhat distorted and out of touch rap music scene.

Truth Be Cold is an Atlanta based musician and one of my personal favourite rappers. He infuses jazzy elements and word play to bring us a time-less appeal to his music. Truth Be has two mixtapes out; Not Your AverageTexas Nigga and A Day In The Life Of A Spacecadet. Some notable producers he’s worked with include the likes of Swede Beats and Sekou D’ Etat among others. Truth Be tells me he’s currently working on some new material; ‘Divine Right’ with Joey P of KxNG, and a project called ‘Young Gifted & Abstract’, where he’s working alongside Yamin aka DJ Amdex of Clan Destined ’. For now it’s #CADETLIFE

What A L ife

Shruti Parekh

“locations have been pretty important to my vid-eos so far because they often play a large part in

the birth of a concept from the beginning”

ugmonk x phsicsmag

What A L ife

Shruti Parekh

ugmonk x phsicsmag

As you begin to understand film making today, you begin to see the interconnectedness between talent and technical know-how. Technology, both in software and hardware, along with the internet, has made it easier to carry out production and distribution activities. However, originality is some-thing only a few filmmakers possess. One such film-maker is Atlanta native Shruti Parekh. Like many of her peers, her work is easily accessible online, but I refute to label her as an ‘ordinary filmmaker’. She’s currently based in Brooklyn, NY, and holds a BA in Modern Culture and Media from Brown Uni-versity. Having worked with DD172, she’s currently improving her artistic know-how while growing her network. I had the pleasure of interviewing Shruti in late 2011 and this is how it went down.

“I am completely unable to be satisfied with expressing myself in one way. I can’t tell you how often I’ll be editing a video and thinking about

graphic design or illustration or photography projects I

want to try sometime”

ugmonk x phsicsmag

phsicsmag (p) : Allow me to express my sin-cere admiration for the What A Life music video you directed. What’s the inspiration be-hind it?

Shruti Parekh (SP): The inspiration for this one is Michel Gondry. Given a few hours to come up with a concept, I started watching some music videos and inevitably ended up going through a string of Gondry videos. He has worked a few times in split screen and has a great sense of fluidity between what is going on between screens. There is one he did for a group called Living Sisters that is 3-way split screen that influenced this video pretty heav-ily, though I simplified the story aspect and made it more about the movement between screens, the different backdrops in NYC, and interaction between the 3 artists.

p: Most of your music video work is set out-doors, and you do an excellent job at captur-ing the spirit of a location’s surroundings. Do you visualize these scenes based on the mes-sage that the song portrays?

SP: I’d say that locations have been pretty im-portant to my videos so far because they of-ten play a large part in the birth of a concept from the beginning. The two videos I shot for McKenzie Eddy in Puerto Rico are very much based on the location and the idea of a par-adise away from the world she knew, where she waits for her lover. Of course the two vid-eos have different feelings and stories, “Don’t Really Know” reflects a fresh and in-love McK-enzie, and “Do What You Want To” shows a jaded, rich McKenzie, and the surroundings of each video portray that. “What a Life” is a New York video, I wanted to show 3 very dif-ferent environments within walking distance of each other -- classic New York.

ugmonk x phsicsmag

films are filming here. The art scene in At-lanta has always been cool, very grassroots and local-feeling, I think it’s getting more lively in certain areas but I haven’t been back for long enough to really get a taste of it.There is definitely a lot going on here, and ATL has got some amazing neighborhoods with really great community art culture.

p: I’d like to close off on a lighter note…I love the splash photo on your website with the two children running. What led you to capture that moment?

SP: Just being in the passenger seat of a car in Rajasthan, India, and seeing these children flying by the car, all energy and color. I don’t remember thinking, just clicking. It was a per-fect moment.

p: I had a detailed look at some of your paint-ing and photographic works, and you seem to draw your inspiration from various sources. Can we expect to see you dig deeper into other art forms or will film production domi-nate your range?

SP: Definitely expect to see me in other art forms. I am completely unable to be satis-fied with expressing myself in one way. I can’t tell you how often I’ll be editing a video and thinking about graphic design or illustration or photography projects I want to try sometime.

p: How are the art and film production scenes shaping up in your hometown? You are cur-rently working on a feature film I hear?

SP: Yeah, I’m currently working on a film by Mira Nair in Atlanta, where I grew up. The film scene is apparently starting to thrive here be-cause of tax incentives in the state of Geor-gia; both studio and independent

All Green Everything

sustainability

Is there more to ethical fabrics than just fo-cusing on their cultivation? I had a talk with a friend of mine about the organic craze that’s currently sweeping the textiles and clothing industries. Organic is the new black, and for most consumers these days, how the fabric is nurtured is just as important as its loca-tional origins. However, there still exists this idea that ethical fabrics can only be applied to a private clothing brand business model. But does it have anything to do with the scale of the production? I’m getting the idea that maybe suppliers are reluctant to adapt their machinery to better complement large scale apparel manufacturing through ethical fab-rics. The auto industry began producing hy-brid cars decades ago…why is fashion so slow to change?

I’d like to go back to the COP17 conference which was conveniently held on the African continent for the first time, Durban South Africa, in 2011. At this conference, govern-ments pledged to create a USD 100 billion green development fund and to extend the Kyoto agreement until 2015 (Canada exclud-ed). This green fund will be used to invest in the development of green technologies for various sectors, and considering that textile agriculture is one of the largest polluters in developing world, it will be interesting to see how these funds will be channeled. Current-ly, words like ‘sustainable development’ and ‘Public Private Partnerships’ are part of every green endorser’s (or financier) vocabulary.

I came across an organization called the In-ternational Working Group (IWC) on Global Organic Textile Standard(s). This organization has defined criteria for achieving “internation-al” organic fibers standards. In a document called the Global Organic Textile Standards (GOTS), “immediate requirements” of organic fabric standards are based on their environ-mental, social and economic impacts (GOTS, 2011). Under the environmental clause, vari-ables such as, among others; chemical usage, waste-water treatment, harvesting methods, and the use of genetically modified fibers are just some of the factors to consider before a fabric can be termed ‘organic’. Social require-ments take into considerations labour condi-tions and economic requirements take into account management, resource efficiency and so on.

I’ll be honest; I think it’s cool to be ethical now-adays. Not to say that ethics must then be associated with being trendy, but since so many of us are aware of the environmental implications that exist from pollution and cli-mate change, it’s both correct and cool to be ethical! But I’m challenging the more estab-lished brand names to do more. The likes of Bionic Yarn, Apolis and Edun are some of the few brands that are setting an example to big businesses that this ethical fabric model can be adapted to suite both small and large scale production. Do great things!

Bionic YarnUgmonk

ApolisEdun

Oliberté

Pioneers of the green movement

sustainability

I remember seeing Tal Dehtiar on the Canadian series of Shark Tank, the show that gives en-trepreneurs access to a panel of venture capi-talists and serial investors. Tal’s idea involved manufacturing high-end footwear in Ethiopia…fair idea. But one of the judges on the panel antagonized Tal by pointing out that, in actual fact, he would save 140% on overheads and fixed costs if he were to manufacture the same products in China. The panel wasn’t convinced with Tal’s concept. This incident occurred a few years ago; today we speak of a different story. Oliberté is the first North American footwear brand to source its entire fabric and manufac-turing operations from Ethiopia. Oliberté’s value chain also runs across numerous African coun-tries; rubber soles are made in Liberia, leather bags and accessories are made in Kenya and Zambia, and its branding material is woven in Mauritius.

In an interview with Good Magazine, Tal talks about how he wanted the “quality” element to stick out for all his products, saying that his wish is to make Made-in-Africa the next Made-in-Italy; through products which place a strong emphasis on quality, design, fabric provenance, labour conditions, and sustainability. According to Tal, he projects between 20 000 to 25 000 pairs of Oliberté footwear to be sold this year, a significant gain from the 200 pairs he sold in 2009 don’t you think?

sustainability

sustainability

Refined Ethiopian Craft

If big business doesn’t provide the solutions, then we as consumers should begin doing so on a small scale. Institutions such as AFI for example should create linkages and incentives between small scale clothing manufacturers in the rest of Africa and design houses in South Africa. Entrepreneurs need to come to the table also. We should en-courage our young entrepreneurs to take on a lit-tle bit more risk; be more adventurous, take initia-tive and don’t be afraid to challenge convention. Governments also have a role to play. Free trade agreements between South Africa and countries such as Ethiopia and Kenya are already in place, but the normal person on the street doesn’t know that, educate and empower.

Oliberté shows us the endless possibilities for textile sourcing and manufacturing on the African continent. I know this might sound ‘cliché’ now but why should the continent’s raw materials be taken elsewhere to be processed and then sold back to the continent? From a South African standpoint, the majority of our clothes are still manufactured in China, I’m talking large scale. At the same time, we don’t have access to plausible fabric qual-ity within our country. I have the solution to our problem. East Africa is home to high quality cot-ton, leather, silk, and flax; the problem is the rig-id nature in which the industry’s supply chain is structured. It’s much more profitable to source from China because of that marginal return on each unit produced. In other words, it’s not about the quality and ethicality of our clothes, it’s about squeezing in that extra margin for retailers.

P r i v a t ewords by Tebogo Mohlahlana

The era of Private

It’s becoming also becoming harder for midrange estab-lishments to compete in a rapidly changing fashion envi-ronment because their target consumers consider up-scale luxury brands as being far more desirable. On the flipside, the same upscale luxury brands rely on diffusion lines to receive the buy-in of a large portion of the middle segmented consumer base. I call this the era of Private because more consumers are taking the time to under-stand the values and ideals which are represented by the products they purchase. Private labels often manufacture smaller units of their ranges with a deep focus on product and service quality, customer satisfaction, interaction with the customer and of course, projecting their core values and ideals effectively. Don’t get me wrong, private labels aren’t necessarily about the ethicality of fashion, but their very existence allows them to fall within an ethical frame-work; just as how a top tier luxury brand would employ thousands of factory workers at its facility in the Canton-ese region of China contrasted with a smaller brand which employs two or three craftspeople. The Private move-ment is done in fine taste throughout the entire phases of a product, from conceptualization to storefront.

The Japanese city of Okayama, the capital city of Okayama Prefecture situated about 538 km south west of the country’s capital, is renowned for its mysterious 400 year old castle, which sits on the banks of the Taka-hashi River. The fall of the Meiji government and the subsequent post World War II re-construction meant that Japan’s cities saw rapid economic boom and industrial expan-sion. Denim production only reached Japan in the 1950s. This was due to a decline in de-mand for imported denim from the U.S and Europe, which led to the purchasing of tra-ditional shuttle looms from American milling facilities by Japanese denim manufacturers. It’s fair to say that Japanese selvage denim actually originates from the States, well… the technology thereof.

A shuttle loom is a piece of machinery that is used in the weaving process of yarn. The first loom was patented by John Kay in 1733, which was known as the Flying Shuttle. Between the 1930s and 1950s, an increase in demand for denim in America meant that milling facilities had to adapt their machinery to meet the growing demand. A lot of facilities soon let go of the traditional shuttle looms, which are said to have been inefficient and cumbersome. Letting go of these shuttle looms paved the way for automated projectile looms, which produced in mass, and allowed for an effec-tive economies of scale. Japanese milling fa-cilities bought the shuttle looms at the time.

Today, selvage denim is perhaps the most desired denim fabric due to its superior tex-ture and authentic feel. What’s the differ-ence, you may ask? In the weaving process of a traditional shuttle loom, the horizontal edges of the thread loop continuously, with-out leaving any edges which would have to be stitched when the entire process is complete. This quality feature means that your den-ims last longer. Selvedge denim doesn’t fray, nor shrink. The craft element is perhaps the most distinguishing factor behind authentic Japanese selvage denim, one which makes it a Private icon. People who appreciate fine craft understand that we are all connected; whether it’s a selvage denim weaving crafts-person in Okayama or a denim enthusiast in South Africa.

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Japanese Selvage

Private Icon

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phsicsmag

clothing by Les Deux

words by Tebogo Mohlahlana

Photography by Theis Bothmann

Models: Japhet Graham & Laura Lundsgaard

Private life

Les Deux’s “flashy in an underground way” theme is flawlessly executed. This brand represents what it means to be Private. I have come to respect the brand’s commu-nication strategy also. Connecting two con-trasting worlds is at the focal point of Les Deux’s communication and brand clarity. With society changing all the time, cultural seclusions have in recent years led to an ‘upspring’ of some sort. The benefactors of these cultural upsprings are brands like Les Deux, which highlight the importance of self-determination in a world which is becoming increasingly cluttered. I find myself being able to relate with what Les Deux stands for!

Danish brands have become renowned for their exceptional dynamism and originality. Over the last five years or so, Copenhagen has become the epicenter of alternative movements. Despite the somewhat ‘anti-establishment’ principles that some of these brands may filter-through, think of brands such as Han Kjobenhavn and Panuu, they still carry with them a very complex value scheme; which if broken down, focusses on discreetness, originality, high quality, func-tionality, craft and engineering, and more importantly, strong design. One such brand is Les Deux. Established in 2009, L2, as it is also known, has gained the reputation of being a sophisticated yet subtle brand.

Private Life

Private Life

Much gratitude to Les Deux’s Andreas von der Heide. Be sure to checkout L2s website www.lesdeux.dk along with

their Twitter & Facebook pages

A lot of people think they know coffee, well not quite like my good friend Vanessa Bolosier. Vanessa is from Guadeloupe, and she runs numerous fine food and beverage operations; with Carib Gourmet being her central fine cuisine company. Carib Gourmet recently launched its first in-house gourmet coffee brand, the Kaché.

Guadeloupe is a French island territory located in the Caribbean. France still governs the island, and the is-land’s history is one that fascinates me. Why coffee you may ask? Coffee is a very special commodity; it has no nutritional value what so ever, but people con-sume it as if it did. Coffee is also a very complex sub-ject matter, one that encapsulates past and present foreign policy relations, slavery, war, income dispari-ties, environmental and fair trade issues among oth-ers.

Kaché coffee is grown and cultivated in Guadeloupe. What makes Kaché so special is its history and tradi-tion. The Guadeloupe Bonifieur is the Caribbean re-gion’s most sacred and rarest coffee bean.

Private Life

Private Life

The Bonifieur draws its lineage from the Arabica Laurina. This line of Arabica arrived in Guadeloupe in 1723, brought in by a French mariner called Gabriel du Clieu. Guadeloupe’s economy at the time was large-ly agricultural. What makes the Bonifieur’s story so emotional is the direct link between its cultivation and the slave trade. The New World at the time saw an exponential increase in the number of Africans being sent to the Americas.

Although most of Guadeloupe’s present day popula-tion is mainly of African descent, the island was first discovered by the Arawak Indians of Venezuela, who called it Karukera, which directly translates to “island of the beautiful waters”. The African slaves were brought in once the island’s mineral and agricultural booms became economic imperatives for France. Present day Guadeloupe enjoys a thriving economy along with a rich and diverse society.

Unlike other types of coffee, Guadeloupe’s Bonifieur reflects a sense of overcoming the worst of odds. The underlying story here is that the people who were once forced to cultivate this coffee under deprived conditions have today taken ownership of the very same coffee and have made it their own. Vanessa tells me that her ancestors, the Caribe people, worked on the plantations, and guess what, she’s continuing on their legacy through Kaché. Working on Kaché has taught me that no matter the ugliness, beauty always triumphs.

true beauty lives

kachecoffee.com

Trading down is an interesting but controver-sial notion. As you would recall, Aquascutum, the 150 year old British luxury fashion brand, filed for administration in April 2012, which led to the house subsequently being taken over by a Chinese consortium called YGM Trading Ltd for a fee of USD 24 million; shockingly ab-surd don’t you think? For a brand with that much history and tradition, one which is con-sidered as an icon of British culture? In her Redefining the Luxury Concept working paper, Uché Okonkwo introduces two notions; trading down and trading up. In her argument, taking into account today’s macro influences such as a surge in wealth accumulation and the wide accessibility of upscale retail establishments, Ms Okonkwo points out to us that “fashion brands are for the mass market, whether they are of high quality or not”, and she goes on further to identify luxury brands as being “for a distinct narrow market and are defined by high quality, differentiation and precision in product design and manufacture”.

According to Uche Okonkwo, the existence of “mass-premium” branding has created a situ-ation whereby the Marketing Mix of an H&M or a Zara for example, no longer reflect that of a low to mid-range establishment. To counter claim her latter observation, one would agree that indeed there has been a blurring out of the differences in the Marketing Mix between low to mid-range brand and retail establish-ments with luxury ones, but there hasn’t really been an effort by luxury brands to justify their high prices effectively, because Zara, H&M, Uniqlo; all these fast fashion establishments are proving to be more relevant on the high street each day. In trying to understand the trading down concept, and whether it con-tributed to the likes of Aquascutum’s demise, I would like to introduce the notion of brand constancy.

Brand Constancyin a rapidly changing macro-environment

branding

Aquascutum AW 2010 source: fashionadexplorer.com

Unlike Burberry, Aquascutum tended to tar-get older and slightly more sophisticated con-sumers. Unlike Burberry, Aquascutum didn’t really have a consistent communications strategy. Unlike Burberry, Aquascutum didn’t evolve into a web 2.0 luxury brand in time, and looking at the company’s history, its pre-vious owners tried their best to keep it rooted to 19th century British ideals. If trading down caused established makes like Aquascutum to go bankrupt then why didn’t it happen to Burberry? Trading down reflects directly on a brand’s constancy because consumers will be loyal to the brands which have been relevant to them throughout. Brands that die out in the minds of consumers will simply become replaced. I do agree that the “mass-pre-mium” approach is making it easier for high income consumers to trade down, but does this mean that there isn’t a middle segment-ed consumer base which is willing to trade up anymore?

branding

all digital marketing enthusiasts, order the book Luxury Online by Uché Okonkwo

Issa Rae was working at the New Federal Theatre in NYC when she had the idea of scripting her Mis-Adventures of an Awkward Black Girl series. Issa sat on her idea for two years, and would go on to implement it only when she moved back to L.A. On the day of writing this article, ABG has commenced with its second season, and the web series has secured the backing of a certain Mr. Pharrell Williams under his IAMOTHER digital media imprint. ABG is so exceptionally executed in its current format that there are talks of bring-ing it to the small screen; a big leap consider-ing Issa and her producer, Tracy Oliver ,at one time had to raise funding through the crowd-sourcing site Kickstarter, where they raised close to USD 57, 000.

Issa Rae teaches us that big dreams start small; you just have to believe in them. Film production in particular is a relatively chal-lenging domain, where things such as equip-ment, location, and personnel matter. ABG is a breath of fresh air when you look at the somewhat ‘formulaic’ nature of black sitcoms currently on rotation. And to the guys running the major studios and those sitting on big budgets, this is what we want to see on our screens; organic, authentic storytelling.

that

AwkwardBlack Girl

Issa Rae

Issa Ra

e source: newculturesociety.com

On 5 March 1960, 32 year old fashion pho-tographer Alberto Korda took a snapshot of what would become one of the most widely recognized images in history; the Guerrillero Heroico. The image is a portrait of Argentinean Marxist rebel leader Che Guevara. To put the photo in context; Che had just arrived at the scene of an exploded Belgian ship at the port of Havana which had killed 136 men. Alberto Korda managed to capture the somewhat ‘dignified disgust’ or anger in Che’s facial ex-pression. How you interpret the Guerrillio He-roico is up to you, but one thing is certain, this image will continue to be reproduced for years to come because it is intense, and powerful.

Alberto Korda

Guerrillero Heroico still resonates 5 decades later, and it is found on everything from coffee mugs to t-shirts. Alberto Korda’s famous mas-terpiece hung in his bathroom for 7 years be-fore an Italian publisher by the name Giangi-acomo Fetrinelli visited him in Havana. It has become a symbol for rebellion, and in some cases, hope. Due to Fidel Castro’s refusal to sign the Berne Convention, Korda couldn’t re-ceive any royalties for his intellectual property, until the early 1990s when a London court pre-vented the use of the image in a Smirnoff ad-vertising campaign for copyright reasons. Al-berto Korda passed away in Paris in 2001, but because of his strong image, this revolution will continue forever.

la

revolución

p rogress ion .