Aamer Rahman (Fear of a Brown Planet) - Reverse Racism

(Source: youtube.com)

emilianadarling:

scoutfinches:

lazylunatic:

a-spoon-is-born:

trapbuddha:

adumbrant:

nirvanatrill:

Albert Einstein teaching a physics class at Lincoln university (HCBU in Pennsylvania) in 1946

Sure as hell never mention that about him.

HOMIE

His anti-racism views and work are often totally ignored by historians.

EVEN OUR HISTORIANS ARE RACIST

did… did you think historians weren’t racist?

Friend, if you did not realize that historians are racist then I have some bad news for you. 
LAPD detains Black woman for prostitution after kissing her white husband.

rafi-dangelo:

White privilege is the luxury of kissing your husband in public without being handcuffed by the LAPD for being a prostitute.

image

Daniele Watts, an African-American actress who has starred in Hollywood films such as Django Unchained, has claimed she was “handcuffed…

red-lipstick:


Frida Kahlo (1907-1954, Coyoacán, Mexico) - What The Water Gave Me, 1938     Paintings: Oil on Canvas
leavesandbitches:

jessehimself:

A 20-year-old girl from South Africa known as Sarah “Saartjie” Baartman was recruited to work in a Paris zoo because of a genetic characteristic known as steatopygia – protuberant buttocks and elongated labia. Whites went to the zoo to look at her buttocks and at other naked Black women with the same shape.
Gawking with desire: since forever and today.

“Since forever and today.”

Hottentot Venus is the name given to Sarah Baartman, a South African woman sold into slavery during the early 19th century as a dancer in Great Britain.[1] The term “Hottentot” was used to describe the Khoikhoi people, a tribe in South Africa near the Cape Region, the southernmost tip of the continent.[2] The Roman goddess Venus was used to objectify the obscure feminine characteristics, such as her larger curves and elongated labia. “Hottentot Venus” is the equivalent of a stage name.Hendrik Cesars, the manager of Sarah Baartman, was the initial creator of the Hottentot Venus concept. He sold her into slavery at age 21, with the promise that she would get rich and her life would return to the way it was. Alexander Dunlop, the owner of Cesars, originally persuaded both into giving up Baartman’s freedom, and creating the image of the Hottentot Venus.[3] From that point, the African icon was traded and exchanged, sent all over Europe, each time with different owners. The image of the Hottentot Venus sparked controversy in many countries and brought attention to the Civil Rights movement in London. Due to negative attention and public outcry, Baartman’s employment was extended and moved to France. She was sold to animal trainer S. Réaux who forced Hottentot Venus into far more shows for longer hours. Essentially Rèaux’s harsh labour was what ultimately led to her early death.
bciacco:

Tuesday night sketch.  #lovefola
atane:

zuky:

nezua:

Flappers shaming Miley Cyrus.

Oddly enough we could say that Miley Cyrus is following solidly in the appropriative footsteps of white flappers, who in the 1920s grabbed national attention and stirred alarmism concerning the end of civilization because they partied to Black music, wore their hair short like Josephine Baker (who fled US racism to become a superstar in Europe), and imitated dance moves from Baker and other Black dancers. The famously flapperesque Charleston was lifted from the African American dance called the Juba, which had West African roots and was danced in secret in the South and the Caribbean. The dance sped up when it reached Harlem, giving birth to both tap dancing and the Broadway hit called The Charleston, which spread like wildfire from there. White people didn’t sway their hips this scandalously prior to that era, making flappers roughly equivalent to white twerkers of the Jazz Age.

This is 100% true. The period from the jazz age to the beat generation, comparatively speaking was the height of cultural appropriation of black art. The beat generation used lingo popularized by Lester Young. They then appropriated the style, dress, and lingo of bebop musicians like Charlie Parker and Dizzy Gillespie, down to the beret, glasses, and soul patch. Bebop musicians, Parker and Gillespie in particular, were the blueprint of their image. Norman Mailer wrote an essay titled “The White Negro" that tackles this phenomenon. I’m no fan of Norman Mailer, but at least he admitted that white people were stealing from blacks. He wrote it in 1957.
With regards to the flappers, apart from Josephine Baker, they also liberally borrowed from black vaudeville performers. They would copy dance moves from black performers, and then introduce it as their own. Many dances attributed to whites are from black vaudeville performers who were forced to perform on the chitlin’ circuit because of segregation and Jim Crow laws.
It really is astonishing how nothing has changed in this regard. For example, people to this day still call Benny Goodman “the king of swing”, when what he did was procure charts for arrangements from Fletcher Henderson, a black man. Goodman’s biggest hits were from Henderson. It’s amazing how much credit Goodman gets for another man’s work. Of course Goodman became “the king of swing”, while Fletcher Henderson remains a footnote in history. How a white man becomes the king of something innovated by blacks is astounding. Benny Goodman is called “the king of swing”. Paul Whiteman is called “the king of jazz”. Elvis Presley is called “the king of rock n roll”. Is Eminem the king of rap? What about Justin Timberlake and Robin Thicke with r&b? Miley is soon on her way to become “the queen of twerking”.
Anyway, apart from getting his charts from Fletcher Henderson, Benny Goodman got his ass handed to him by Chick Webb at the Savoy Ballroom when they had a battle of the bands. Goodman is often noted as being one of the few white men in the segregation era to have black men in his band, and the narrative is typically presented as if he did it out of benevolence. He did it because there was no way to get around the fact that swing music was the domain of black folks, and he poached the best black players he could find to bolster his band, and black musicians went with him because as a white man, he was able to pay them more than black bandleaders, and they wouldn’t have to deal with indignity while traveling. Many hotels refused black bands, so they often had to sleep in cars, bus terminals, or crash at the homes of hospitable blacks. A big portion of Duke Ellington’s money went towards renting out train cars and making sure his orchestra had a place to sleep while on the road because hotels often turned them down because they were black. These were issues Goodman wasn’t going to face. Black musicians certainly didn’t go with him because he was the best. Goodman even later hired Henderson to arrange and play in his band. He wasn’t doing it because he loved black people. Black people were the ones creating and innovating. Where else would he get the best charts and arrangements? Now that the smoke has cleared and the dust has settled, Goodman gets all the credit. Funny how that works.
This stuff has been going on for a long time. Miley is the 2013 version. Twerking has been around for a long time, but Miley convulses on national tv and all of a sudden, dictionary definitions of twerking are made. Definitions complete with no mention of black people, like all this happened in a vacuum. It’s history repeating itself over and over again. I see the same thing happening with afrobeat music.

thisguyknowswhatimtalkingabout:

swordofomens:

surfer-rosa3:

carlboygenius:

Hemp is a Sensible, Sustainable, Highly-Industrializable Plant

We should utilize it. Hemp could solve many problems.

END PROHIBITION. It is NOT just about smoking.

YEP.

And you forgot a big one: it is excellent at trapping carbon! Plants pull the carbon dioxide out of the air, turn the carbons into other compounds and release the oxygen, thus cooling the planet.

Also, if I recall correctly, fields with growing hemp either help reverse, or simply doesn’t suffer, the effects of soil nutrient depletion. (but that may be b.s. that I’m misremembering)

-teesa-:

9.9.14

It’s this idea of “Hey, dudes are dudes.”