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The BURDEN of Bearing WITNESS

Harper's BAZAAR - US

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April 2022

As a teenager in MISSISSIPPI, KIESE LAYMON watched FOOTAGE of POLICE beating RODNEY KING. On the 30TH ANNIVERSARY of the L.A. REBELLION, he tries to UNDERSTAND what he SAW.

The BURDEN of Bearing WITNESS

In March 1991, I wrote about watching 17 police officers paid to protect and serve watch four other officers paid to protect the video at a friend's house in a Jackson, Mississippi, neighborhood called Presidential Hills. There were four of us, all Black boys, standing in front of what was then the biggest television I'd ever seen in my life. That night, I didn't craft an essay or even a paragraph. On the back of a trigonometry test I'd failed, I wrote, “They all just watched.”

I was 16 years old.

I did not describe the particularities of the officers who watched. I did not describe the blows to King's forehead, ribs, legs, neck, eyes, and arms. I did not describe the cars that slowed down to watch before continuing down the road. I did not describe how I felt.

I could not describe the way Rodney King ran.

They all just watched.

All four of us had seen folks beaten up, shot, stabbed, and stomped out at concerts. But in every one of those scenes, those seeings, someone somewhere always came to the person's defense.

By 16, we knew we had to make ourselves meek, small, subservient, docile, and grateful to survive encounters with the police, white mobs, white teachers if we wanted to make it home to Mama, Grandmama, and them.

We knew, just 150 miles from where we watched those 17 police watch Rodney King run, Emmett Till was murdered for being Emmett Till. Ninety miles from where we watched those 17 police officers watch one of their own almost kill, Fannie Lou Hamer was beaten damn near to death in a Winona jail for being Fannie Lou Hamer. We knew that 21 years earlier, five miles from where we watched those 17 officers watch Rodney King beg for his life, police shot up a dorm at Jackson State University, where my parents went to school, killing two students and injuring 12 others.

They all just watched.

MEER VERHALEN VAN Harper's BAZAAR - US

Harper's BAZAAR - US

Wildest DREAMS

There's never been a better time to go on SAFARI, with CAMPS that prioritize CONSERVATION delivering ONCE-in-a-LIFETIME experiences

time to read

2 mins

November 2025

Harper's BAZAAR - US

Harper's BAZAAR - US

On PERFORMANCE

I met Cynthia Erivo over 10 years ago, when she first moved from London to New York and ended up becoming my neighbor. I always knew she would go on to do amazing things, and I can think of no one more fitting to celebrate on the cover of our Performance issue, as audiences gear up to take her in as Elphaba once more in Wicked: For Good. I have always been struck by the way Erivo can come off as both delicate and larger than life—or, as Jazmine Hughes writes in her cover story, “able to put both her strength and her softness on display.” This manifests in the photos too, shot by Cass Bird and styled by Yashua Simmons, portraying a performer at the peak of her powers, glamorous and self-assured and vulnerable all at once.

time to read

2 mins

November 2025

Harper's BAZAAR - US

Harper's BAZAAR - US

Holding THE STAGE

DEREK C. BLASBERG talks to comedian and writer JULIO TORRES and playwright JORDAN TANNAHILL about the POWER of WORDS, how PERFORMANCE can be an act of DEFIANCE, and the importance of telling QUEER stories in REPRESSIVE (and REGRESSIVE) times

time to read

6 mins

November 2025

Harper's BAZAAR - US

Harper's BAZAAR - US

LIGHT Show

LASER TREATMENTS have gotten so ADVANCED, there's now a LIGHT-BASED option for every skin GOAL and TONE. Ahead, the EXPERT GUIDE to the latest and greatest TECHNOLOGIES for RADIANT, SMOOTH skin-NO NEEDLES or scalpels required.

time to read

5 mins

November 2025

Harper's BAZAAR - US

WHY DON'T YOU...?

As we celebrate the POWER of PERFORMANCE this month, LYNETTE NYLANDER implores you to CHANNEL the GREAT DIVAS, past and present, in your daily ROUTINE. As SHAKESPEARE wrote, all the WORLD'S a STAGE!

time to read

2 mins

November 2025

Harper's BAZAAR - US

Harper's BAZAAR - US

Who Gets to Be PREPPY?

The style once RESERVED for the PRIVILEGED few is now UBIQUITOUS, open to broad INTERPRETATION, and ACCESSIBLE to ALL

time to read

6 mins

November 2025

Harper's BAZAAR - US

Harper's BAZAAR - US

CYNTHIA ERIVO Is Unstoppable

CYNTHIA ERIVO has always been a ONCE-IN-ALIFETIME PERFORMER with a VOICE for the AGES. Now, she's a STAR for them too.

time to read

10 mins

November 2025

Harper's BAZAAR - US

Harper's BAZAAR - US

Leaps & BOUNDS

MISTY COPELAND transformed the DANCE WORLD during her 25 years with the American Ballet Theatre. Now she's RETIRING from the only company she's ever known-but she's still RAISING the BAR.

time to read

10 mins

November 2025

Harper's BAZAAR - US

Harper's BAZAAR - US

DWANA SMALLWOOD, NOVEMBER 2000

“A GREAT DANCER uses movement as a poet uses words. The grandest and slightest gestures—a head thrown back, a leg held high—illuminate the spirit and the heart.” That was how writer Elizabeth Kaye described the art of dance in an essay that accompanied a portfolio titled “Fast Company” in the November 2000 issue of Harper’s Bazaar. Photographed by Patrick Demarchelier, the story showcased six performers who were making their mark on the dance world at the turn of the 21st century—among them, Alvin Ailey American Dance Theater principal Dwana Smallwood.

time to read

1 min

November 2025

Harper's BAZAAR - US

Harper's BAZAAR - US

SHABOOZEY

Introducing This Issue's MUSIC DIRECTOR

time to read

1 min

November 2025

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