1. I asked the doctor and he confirmed that there is white skin under black skin. A teacher of his once took a very thin slice of skin off a cadaver and showed it to his students and said, ‘This is the thickness of racism.’

    Andres Serrano (via bombmagazine)

    I want really badly for this to be the epitaph of a novel.

    Reblogged from: bombmagazine
  2. nintendo-blisters:

    It’s finally happening.
    Donald Glover is Miles Morales as Spider-Man.

    Reblogged from: sandersmcgee
  3. saatchiart:

    Each week, we showcase an emerging artist from around the world who is already garnering attention for their work. Taking inspiration from the Saatchi Gallery’s 25-year history of discovering new talent, One-to-Watch presents some of the most exciting artists on Saatchi Art, helping collectors to identify strong emerging talent. Check out our exclusive look at artist Edwin Ushiro.

    Reblogged from: saatchiart
  4. Michael Brown's mom laid flowers where he was shot—and police crushed them

    whatwhiteswillneverknow:

    As darkness fell on Canfield Drive on August 9, a makeshift memorial sprang up in the middle of the street where Michael Brown’s body had been sprawled in plain view for more than four hours. Flowers and candles were scattered over the bloodstains on the pavement. Someone had affixed a stuffed animal to a streetlight pole a few yards away. Neighborhood residents and others were gathering, many of them upset and angry.

    Soon, police vehicles reappeared, including from the St. Louis County Police Department, which had taken control of the investigation. Several officers emerged with dogs. What happened next, according to several sources, was emblematic of what has inflamed the city of Ferguson, Missouri, ever since the unarmed 18-year-old was gunned down: An officer on the street let the dog he was controlling urinate on the memorial site.

    Oh… it gets worse.

    Reblogged from: whatwhiteswillneverknow
  5. Journalist Gary Webb unearthed the CIA’s dual imperial role in the “War on Drugs.” In his 1996 investigation, Webb found that cocaine was being smuggled into the US and sold in Los Angeles by Contra terrorists fighting a US proxy war against Nicaragua’s Sandinista movement. The smuggled cocaine was sold in its crack form and intentionally distributed in the Black community to provide justification for rampant policing and imprisonment, including the mandatory 100 to 1 difference between crack powder cocaine prison sentences. Profits from the US sponsored drug trade were funneled back to the Contras to help pay for arms from US coffers.​ Both on the domestic and international front, Webb’s findings revealed that the US imperial “War on Drugs” was a dual war on the Black community and the oppressed peoples of the world.
    Reblogged from: azspot
  6. Every once in a while, saying someone nice to someone I don’t know on Tumblr is the thing that cheers me up.
    Not a whole lot, but it does something, and something is always a pleasant change of pace.

  7. Logic | Driving Ms. Daisy (ft. Childish Gambino)

  8. spacetravelco:

    Physics prints by Justin VanGenderen

    Available here & here.

    Reblogged from: mordicaifeed
  9. comedycentral:

Click here to watch Jon Stewart discuss Fox News’s coverage of Ferguson, Missouri.

    comedycentral:

    Click here to watch Jon Stewart discuss Fox News’s coverage of Ferguson, Missouri.

    Reblogged from: justice4mikebrown
  10. And if Michael Brown was not angelic, I was practically demonic. I had my first drink when I was 11. I once brawled in the cafeteria after getting hit in the head with a steel trash can. In my junior year I failed five out of seven classes. By the time I graduated from high school, I had been arrested for assaulting a teacher and been kicked out of school (twice.) And yet no one who knew me thought I had the least bit of thug in me. That is because I also read a lot of books, loved my Commodore 64, and ghostwrote love notes for my friends. In other words, I was a human being. A large number of American teenagers live exactly like Michael Brown. Very few of them are shot in the head and left to bake on the pavement.

    The “angelic” standard was not one created by the reporter. It was created by a society that cannot face itself, and thus must employ a dubious “morality” to hide its sins. It is reinforced by people who have embraced the notion of “twice as good” while avoiding the circumstances which gave that notion birth. Consider how easily living in a community “with rough patches” becomes part of a list of ostensible sins. Consider how easily “black-on-black crime” becomes not a marker of a shameful legacy of segregation but a moral failing.

    Ta-Nehisi Coates, being amazing. (via politicalprof)
    Reblogged from: maureentheintern
  11. afternoonsnoozebutton:

    blackgirlwhiteboylove:

    Every POC got this lesson.

    Got this drilled into my brain as a kid. This reminds me of that Chris Rock quote: 

    "I will give you an example of how race affects my life. I live in a place called Alpine, New Jersey. Live in Alpine, New Jersey, right? My house costs millions of dollars…In my neighborhood, there are four black people. Hundreds of houses, four black people. Who are these black people? Well, there’s me, Mary J. Blige, Jay-Z and Eddie Murphy. Only black people in the whole neighborhood. So let’s break it down…Mary J. Blige, one of the greatest R&B singers to ever walk the Earth. Jay-Z, one of the greatest rappers to ever live. Eddie Murphy, one of the funniest actors to ever, ever do it. Do you know what the white man who lives next door to me does for a living? He’s a fucking dentist. He ain’t the best dentist in the world. He ain’t going to the dental hall of fame. He don’t get plaques for getting rid of plaque. He’s just a yank-your-tooth-out dentist. See, the black man gotta fly to get to something the white man can walk to."

    Reblogged from: maureentheintern
  12. darksilenceinsuburbia:

    Josef Hoflehner

    From Patience

    2006-2013

    Reblogged from: exhibition-ism
  13. Hoodie Allen | Movie

    The Director’s Cut: Women’s Role In The Hip-Hop Video, Through Hoodie Allen’s ‘Movie’

    Now, I like Hoodie. A lot. He’s one of the few artists I go out of my way to hear more from. I’m still bumpin’ Leap Year on my phone. I’m mad critical of him, but I don’t talk about that in part because he’s (or was, considering his new-found social media traction) too underground for anyone to care about my opinion of him; other than that, I like his flow. 

    So I want to get some good points out of the way: Hoodie’s singing voice adds a lot of force to the song, which I like; his pop-culture reference encyclopedia status is unchallenged here, both lyrically and visually; and for the video’s sake, it is well-studied in the intricacies of canon cinema styles, even if they’re recreated on a budget. 

    But… something about the lyrics, though… 

    Again, I love Hoodie. Me pointing this out doesn’t mean I at all dislike Hoodie, don’t enjoy this song purely aurally, or won’t cop People Keep Talking (barring financial difficulties) when it comes out.

    But… 

    The city can be mine, 
    but you just need to stop and learn your lines.

    So… the city can’t, or shouldn’t, belong to the both of you?
    And the attainment of this city, for the benefit of simply the guy, relies on not only the active performance of the woman who won’t share it, but the obedience? 

    (Yeah, sure, they’re just lyrics, it’s just some simple rhyme scheme, whatever. But the song wouldn’t drop in quality without it; and it was a selected (albeit admittedly clever) continuation of the motif that could only go one way in definition. So if that wasn’t what was meant, it could have been left out, yeah? And otherwise… that’s what was meant.)

    Hip-hop, underground rap, and the individual stars of it, aren’t new to having issues with women in it. From how we judge its actual female artists to how male artists speak of them in their lyrics and pose them in their videos, the core point here hasn’t changed - there is a strong, clear undercurrent of problematic images and concepts of women in hip-hop in particular.

    Sometimes it’s pointed out, but mostly to still condescendingly emphasize the lack of agency some women have in general hip-hop music politics1; other times, it is exhibited purely devoid of lampshading, often to the extreme2. And weirdly enough, we only have something to say about women and objectification when it is being replaced in hip-hop with female artists taking full control of their sexuality3

    It’s why, for instance, Watsky has to dedicate one whole bar of ‘Moral of the Story' to indicating that, when he uses a gendered slur, he's not being misogynistic4, but Lupe Fiasco takes an entire verse to blame women for reclaiming the very same word in ‘Bitch Bad5

    So it kinda means something when the artist of a song states in no uncertain terms in the lyrics of the song that any agency or power the woman of his dreams can have in the space they share is through, beside, and after his own power. After all, he still speaks at length in the second verse about his own ever-increasing status, which still involves the ability to get the attention of other women. 

    But she - the female character of whom Hoodie’s persona speaks so highly - is simply someone the camera loves. She’s not a particularly powerful player in the space they share. She’s just cute enough to share it with him, as long as she behaves.

    In much the same way that T.I. requires ‘no mediocre’6
    Hoodie’s character requires any woman he is interested in to ‘learn [their] lines’ in the script that either he wrote for her, or the patriarchy writes for all young women. 

    And I don’t know how well I can separate the overall pretty-good-ness of the whole song from that small, nagging thing. 

    So there.

    1. see Game’s ‘Wouldn’t Get Far' ft. Kanye West, in which he attempts to critique the falsehood of hip-hop video culture (albeit not as succinctly as the subtitled version video of The Roots' single 'What They Do’), but over the lyrical content which berates women for seeking to be video vixens.
    2. see Kanye West’s ‘Monster' ft. Rick Ross, Jay Z, Nicki Minaj, in which women appear prominently as dead props. If you haven’t seen this yet… good on you. Don’t click the link. Fa real. 
    3. Almost any white social media discussion of Beyoncé or Nicki Minaj should do here, but of particular note is the cover and subsequent video for Nicki’s single ‘Anaconda’; the initial response from the blogosphere was that she was pushing the envelope too far and not being a proper role model to young girls - a critique never lobbed at artistes like Miley Cyrus or Taylor Swift for co-opting images of black culture to represent such sexuality in even more problematic ways - and Nicki responded by illustrating the inherent double standard that arises from that judgment.
    4. “‘Can’t you tell I’m working,/ bitch? don’t bother me!’/ Show some modesty/ if you’re watchin’ me:/ ‘bitch’ is anybody in my/ way, it’s not misogyny.”
    5. All of the respectability politics that the lyrics are saving up in ‘Act I’ come to a head in the third verse: “Momma never dressed like that/ come out the house hot mess like that/ ass, titties, dressed like that/ all out to impress like that…”
    6. “All I fuck is bad bitches - I don’t want no mediocre ho/ don’t want no mediocre, I don’t want no mediocre, no!”

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