Finance Professional, Conscious Black Man, Grad Student.
Observing the world. Organizing my Thoughts.
Educating, Sharing and Informing what I see.
This is my Blog. Thank you for Visiting.

22nd August 2014

Video reblogged from Black Is Beautiful with 264,028 notes

lmsig:

chvrizard:

stalkedprincess:

azntoo:

skindeap:

shakeitoffpickyourselfup:

aromaeus:

jshaath:

Please take one minute out of your day and watch this. It’s the ugly truth.

I hear no lies.

yoooo

I did not think she would go there but then she did I literally screamed YAAAAAASSSSS BITCH DRAG THEM LIKE YOU’RE TRYNA WALK A CAT

oh shit

Oooooh shit

Fucking yes

17mul

Love it and it is so true

Source: jshaath

22nd August 2014

Photo reblogged from Black Is Beautiful with 3,598 notes

We need to uplifting and appreciating each other, especially in Public.

We need to uplifting and appreciating each other, especially in Public.

Tagged: upliftingvalueblack womanblack women

Source: mylifenolye

22nd August 2014

Photo reblogged from *Black ; No Cream.No Sugar.* with 607 notes

Source: davidroads

22nd August 2014

Photo reblogged from return of the flower child with 38,422 notes

Tagged: hookahtrickszylogo

Source: xtime-is-moneyx

22nd August 2014

Post reblogged from emiliar with 1,567 notes

fabulazerstokill:

I legitimately hope people are learning something from all the shit going on concerning Ferguson

And by learning something, I mean deconstructing the F U C K out of their anti-blackness and understanding just how devalued black lives are in America(and in the world tbh)

You can reblog the post, you can post about it, but unless you’re working to unpack your antiblackness, and the antiblackness of people around you, you’re fucking up and this shit is going to keep happening 

Source: fabulazerstokill

22nd August 2014

Photo reblogged from ... with 3,403 notes

owning-my-truth:

Taylor Swift’s Racism & “Shake It Off” Video
We clearly need to start a hashtag campaign at this point to #stopracistwhitegirls. Between Miley Cyrus, Katy Perry, Lily Allen and more, the mainstream pop bench is absolutely stacked with racist white girls galore at the moment. But in our 2014 “post racial” America where black people are getting killed every 28 hours by vigilante justice, where Mike Brown’s killer, Darren Wilson, is on paid leave for brutally executing an unarmed black teenager as we speak, and where police brutality against black bodies in Ferguson and across the country is the norm, it’s still so fun and uber cool for white girls to make blackness a costume! You know, since it clearly doesn’t get us killed or anything.
Enter Taylor Swift stage left.

[image description: Taylor Swift in a leopard print jacket with large gold hoop earrings, and cut of jean shorts with a gold chain posturing in front of twerking dancers]
So I’ll admit that I do have a bit of a penchant for bland pop music, and so I have followed Taylor Swift in varying capacities for many years. I understand that her entire image is carefully cultivated to exude innocent, bright eyed and bushy tailed white girl who is always “shocked” when she wins an award. I understand that the reason her image sells is because of the white supremacist patriarchal notion of the “cult of true womanhood,” where moneyed white woman had their femininity defined by 4 traits: piety, purity, domesticity, and submissiveness. It is in this mold that Taylor Swift has built such a massive following and sold so many millions of albums. Ascribing herself to these narrow values by which white womanhood is exalted and elevated in a way that is only accessible to white female bodies and not to WOC has been Swift’s “in” in the music industry more than anything else over the years.
But in the pop industry there is a constant need for reinvention and to push the boundaries ever further with each succeeding musical effort. Even as Swift has cultivated and carefully molded her image to fit this fairly rigid white supremacist patriarchal construct of white femininity and has made millions doing so, the constant churn of capitalism has made the appeal of her wonder bread white girl image fade with time. She needs some way to “spice up” her act and draw attention to herself along with it. As bell hooks so brilliantly says in her cultural criticism & transformation:

There’s a way in which white culture is perceived as too “wonder bread” right now—not edgy enough, not dangerous enough—let’s get some of those endangered species people to be exotic for us. It’s really simply a more up-scale version of primitivism resurging. When blackness is the sign of transgression that is most desired, it allows whiteness to remain static, to remain conservative, and it’s conservative thrust to go unnoticed.

And so, with this in mind, Swift like so many white girls and boys before her, turns to blackness to find that “exotic” flavor to give her bland image the kick it needs. 
What strikes me about the “Shake It Off” video is just how true to form it is with all of the other racist music videos we’ve seen from white women in the past year alone. “Hard Out Here,” “We Can’t Stop,” “23” and more, white girls have been on a roll with their racism and racialized misogyny and Taylor Swift couldn’t wait to join the party.

[image description: Taylor Swift in a red hooded jacket, holding a boom box and wearing a fitted cap in front of black and Latino break dancers]
In one scene from the video we have Taylor Swift dressed as a b-boy with a fitted cap and all, in a brazen and blatant act of cultural appropriation. We all know that the b-boy tradition comes from black and Latin@ youth who get demonized and criminalized daily and who are not able to breakdance without facing harassment from the police. But Swift, drenched in her white privilege and concomitant myopia has no sense of how insulting it is to slip this on as a fun “costume” for a few seconds in her video, as she can always retreat back into her whiteness unassailed while the black and Latin@ breakdancers in her video cannot.
The most disgusting part of the video, though, came, as usual with the twerking scene. White girls just seem to love to throw in a twerking scene into their videos these days. 

[image description: Taylor Swift in a leopard print jacket and gold earrings and chains crawling in between the legs of several twerking dancers and staring up at the butt of a twerking black woman]
This is different from the “Anaconda” video, where black women have agency and control of their sexuality and bodies. Instead, just like her racist white counterparts (namely Miley Cyrus and Lilly Allen), Taylor Swift makes twerking and black female bodies a spectacle before the white gaze. Particularly as she walks between the legs of her twerking dancers and pauses at the black woman in the group and gapes astoundingly at her ass, the white gaze is centralized. In this scene black femininity is clearly exotified and demonized in an animalistic contrast to her conservative white femininity that can gape “shocked” at what she’s witnessing (which black women have literally been doing for centuries). This is white feminism at work, which perpetually ignores crucial intersections of race and gender, and to add insult to injury the scene ends with Swift giggling and looking bashfully at the ground, reifying her innocence and white privilege in the spirit of the cult of true womanhood. These are constructs which black women and other WOC do not have access to due to their race, and which Swift gleefully reinforces with this imagery.
This entire scene is a blatant example of primitivism and misogynoir (racialized antiblack misogyny) in the spirit of the spectacle that people made out of the body of  Saartjie Baartman. 

[image description: Caricature cartoon image of Saartjie “Sarah” Baartman, the “Hottentot Venus.” She is scantily clad with a spear, very large buttocks and her large breasts exposed as well with a white Cherubim alighting on her buttocks]
In case you are not aware, Baartman was a Khoikhoi South African woman, who was brought to Europe in 1810 where she was subsequently paraded around  as a freak show with the “exotic” features of her black female body—her butt, breasts and elongated labia— as the main event. Racist caricatures of her body were made, including the famous cartoon above. After her death, her skeleton, preserved genitals and brain were placed on display in Paris’ Musée de l’Homme until 1974. Her remains were not returned to South Africa until 2002 when she was finally reburied near her home town over 200 years after her birth.
In this video, Swift, like her racist white pop counterparts, taps into the racist traditions that we see in the dehumanization of Baartman. This is absolutely unacceptable. Black female bodies are not foreign, exotic, alien lands for your debasement in a cheap pop video for mass consumption. Black women have agency and deserve humanity and respect. Nobody cares if the dancer was “okay” with being in the scene or not, what we care about is the imagery being produced which enshrines white femininity as the standard and strips black women of agency rather than giving homage and due respect to them (as we see in Rihanna’s “Pour It Up” video, Nicki Minaj’s “Anaconda” video and more which centralize the black female gaze).
 But, if we didn’t know before, we’ve learned in the past year that Swift and all of these other white pop stars are simply shameless. They don’t care. We critique and point out their racism and racialized misogyny and they throw out obtuse comments about how they actually “really love black people” and “have black friends,” you name it, rather than accepting the problematic nature of their work and just apologizing. This is white supremacist thinking in action, as the only emotional universe which matters is that of the white individual in question and not that of the black people who object to the debasement of our bodies and commodification of aspects of our cultures in videos like this. And we see the impact of all of this in the thinking of their fans who myopically follow their stars and don’t realize that they can be fan while still being critical of the actions of their favorite pop stars. It is unacceptable that Swift can shamelessly appropriate from b-boy black and Latin@ culture, parade herself around as a faux-black woman and then exotify and degrade black female bodies for mass consumption in her videos. And it’s so important that we call videos like this out, and demand accountability from artists who put out degrading videos like Taylor Swift just did with “Shake It Off.”  #stopracistwhitegirls2k14
Related Posts:
+ Lily Allen’s Racist “Hard Out Here” video
+ Ke$ha’s Racist “Crazy Kids” video

owning-my-truth:

Taylor Swift’s Racism & “Shake It Off” Video

We clearly need to start a hashtag campaign at this point to #stopracistwhitegirls. Between Miley Cyrus, Katy Perry, Lily Allen and more, the mainstream pop bench is absolutely stacked with racist white girls galore at the moment. But in our 2014 “post racial” America where black people are getting killed every 28 hours by vigilante justice, where Mike Brown’s killer, Darren Wilson, is on paid leave for brutally executing an unarmed black teenager as we speak, and where police brutality against black bodies in Ferguson and across the country is the norm, it’s still so fun and uber cool for white girls to make blackness a costume! You know, since it clearly doesn’t get us killed or anything.

Enter Taylor Swift stage left.

[image description: Taylor Swift in a leopard print jacket with large gold hoop earrings, and cut of jean shorts with a gold chain posturing in front of twerking dancers]

So I’ll admit that I do have a bit of a penchant for bland pop music, and so I have followed Taylor Swift in varying capacities for many years. I understand that her entire image is carefully cultivated to exude innocent, bright eyed and bushy tailed white girl who is always “shocked” when she wins an award. I understand that the reason her image sells is because of the white supremacist patriarchal notion of the “cult of true womanhood,” where moneyed white woman had their femininity defined by 4 traits: piety, purity, domesticity, and submissiveness. It is in this mold that Taylor Swift has built such a massive following and sold so many millions of albums. Ascribing herself to these narrow values by which white womanhood is exalted and elevated in a way that is only accessible to white female bodies and not to WOC has been Swift’s “in” in the music industry more than anything else over the years.

But in the pop industry there is a constant need for reinvention and to push the boundaries ever further with each succeeding musical effort. Even as Swift has cultivated and carefully molded her image to fit this fairly rigid white supremacist patriarchal construct of white femininity and has made millions doing so, the constant churn of capitalism has made the appeal of her wonder bread white girl image fade with time. She needs some way to “spice up” her act and draw attention to herself along with it. As bell hooks so brilliantly says in her cultural criticism & transformation:

There’s a way in which white culture is perceived as too “wonder bread” right now—not edgy enough, not dangerous enough—let’s get some of those endangered species people to be exotic for us. It’s really simply a more up-scale version of primitivism resurging. When blackness is the sign of transgression that is most desired, it allows whiteness to remain static, to remain conservative, and it’s conservative thrust to go unnoticed.

And so, with this in mind, Swift like so many white girls and boys before her, turns to blackness to find that “exotic” flavor to give her bland image the kick it needs. 

What strikes me about the “Shake It Off” video is just how true to form it is with all of the other racist music videos we’ve seen from white women in the past year alone. “Hard Out Here,” “We Can’t Stop,” “23” and more, white girls have been on a roll with their racism and racialized misogyny and Taylor Swift couldn’t wait to join the party.

[image description: Taylor Swift in a red hooded jacket, holding a boom box and wearing a fitted cap in front of black and Latino break dancers]

In one scene from the video we have Taylor Swift dressed as a b-boy with a fitted cap and all, in a brazen and blatant act of cultural appropriation. We all know that the b-boy tradition comes from black and Latin@ youth who get demonized and criminalized daily and who are not able to breakdance without facing harassment from the police. But Swift, drenched in her white privilege and concomitant myopia has no sense of how insulting it is to slip this on as a fun “costume” for a few seconds in her video, as she can always retreat back into her whiteness unassailed while the black and Latin@ breakdancers in her video cannot.

The most disgusting part of the video, though, came, as usual with the twerking scene. White girls just seem to love to throw in a twerking scene into their videos these days.

[image description: Taylor Swift in a leopard print jacket and gold earrings and chains crawling in between the legs of several twerking dancers and staring up at the butt of a twerking black woman]

This is different from the “Anaconda” video, where black women have agency and control of their sexuality and bodies. Instead, just like her racist white counterparts (namely Miley Cyrus and Lilly Allen), Taylor Swift makes twerking and black female bodies a spectacle before the white gaze. Particularly as she walks between the legs of her twerking dancers and pauses at the black woman in the group and gapes astoundingly at her ass, the white gaze is centralized. In this scene black femininity is clearly exotified and demonized in an animalistic contrast to her conservative white femininity that can gape “shocked” at what she’s witnessing (which black women have literally been doing for centuries). This is white feminism at work, which perpetually ignores crucial intersections of race and gender, and to add insult to injury the scene ends with Swift giggling and looking bashfully at the ground, reifying her innocence and white privilege in the spirit of the cult of true womanhood. These are constructs which black women and other WOC do not have access to due to their race, and which Swift gleefully reinforces with this imagery.

This entire scene is a blatant example of primitivism and misogynoir (racialized antiblack misogyny) in the spirit of the spectacle that people made out of the body of  Saartjie Baartman.

[image description: Caricature cartoon image of Saartjie “Sarah” Baartman, the “Hottentot Venus.” She is scantily clad with a spear, very large buttocks and her large breasts exposed as well with a white Cherubim alighting on her buttocks]

In case you are not aware, Baartman was a Khoikhoi South African woman, who was brought to Europe in 1810 where she was subsequently paraded around  as a freak show with the “exotic” features of her black female body—her butt, breasts and elongated labia— as the main event. Racist caricatures of her body were made, including the famous cartoon above. After her death, her skeleton, preserved genitals and brain were placed on display in Paris’ Musée de l’Homme until 1974. Her remains were not returned to South Africa until 2002 when she was finally reburied near her home town over 200 years after her birth.

In this video, Swift, like her racist white pop counterparts, taps into the racist traditions that we see in the dehumanization of Baartman. This is absolutely unacceptable. Black female bodies are not foreign, exotic, alien lands for your debasement in a cheap pop video for mass consumption. Black women have agency and deserve humanity and respect. Nobody cares if the dancer was “okay” with being in the scene or not, what we care about is the imagery being produced which enshrines white femininity as the standard and strips black women of agency rather than giving homage and due respect to them (as we see in Rihanna’s “Pour It Up” video, Nicki Minaj’s “Anaconda” video and more which centralize the black female gaze).

 But, if we didn’t know before, we’ve learned in the past year that Swift and all of these other white pop stars are simply shameless. They don’t care. We critique and point out their racism and racialized misogyny and they throw out obtuse comments about how they actually “really love black people” and “have black friends,” you name it, rather than accepting the problematic nature of their work and just apologizing. This is white supremacist thinking in action, as the only emotional universe which matters is that of the white individual in question and not that of the black people who object to the debasement of our bodies and commodification of aspects of our cultures in videos like this. And we see the impact of all of this in the thinking of their fans who myopically follow their stars and don’t realize that they can be fan while still being critical of the actions of their favorite pop stars. It is unacceptable that Swift can shamelessly appropriate from b-boy black and Latin@ culture, parade herself around as a faux-black woman and then exotify and degrade black female bodies for mass consumption in her videos. And it’s so important that we call videos like this out, and demand accountability from artists who put out degrading videos like Taylor Swift just did with “Shake It Off.”  #stopracistwhitegirls2k14

Related Posts:

+ Lily Allen’s Racist “Hard Out Here” video

+ Ke$ha’s Racist “Crazy Kids” video

Source: owning-my-truth

21st August 2014

Photo reblogged from Angela Hellcat with 30 notes

angelahellcat:

Dear followers. Stop posting pictures of your food for a few minutes and take some time to read about what’s going on in #furgeson this is no joke. Residents are being attacked by tear gas and rubber bullets while trying to peacefully protest. The media is being blacked out. Journalists and media photographers/cinematographers are being ARRESTED. They’re suspending twitter accounts to people releasing any information or videos about the #mikebrown shootings which caused the protests. What they’re doing is illegal. Something needs to be done about it. #wakeupamerica #furgeson #handsupdontshoot #operationfurgeson

angelahellcat:

Dear followers. Stop posting pictures of your food for a few minutes and take some time to read about what’s going on in #furgeson this is no joke. Residents are being attacked by tear gas and rubber bullets while trying to peacefully protest. The media is being blacked out. Journalists and media photographers/cinematographers are being ARRESTED. They’re suspending twitter accounts to people releasing any information or videos about the #mikebrown shootings which caused the protests. What they’re doing is illegal. Something needs to be done about it. #wakeupamerica #furgeson #handsupdontshoot #operationfurgeson

21st August 2014

Photo reblogged from "But soon or late..." with 5 notes

1coolcason:

#HandsUpDontShoot! FAMU!

1coolcason:

#HandsUpDontShoot! FAMU!

21st August 2014

Photo reblogged from weloveinterracial with 1,781 notes

weloveinterracial:

" I DON’T APOLOGIZE FOR MY BLACKNESS AND YOUR FEAR ! " 

weloveinterracial:

" I DON’T APOLOGIZE FOR MY BLACKNESS AND YOUR FEAR ! " 

21st August 2014

Chat reblogged from Sway: The Hi-Low with 608,622 notes

  • <b> Socialism:</b> You have 2 cows and you give one to your neighbor.<p><b>Communism:</b> You have 2 cows; the Government takes both and gives you some milk.<p><b>Fascism:</b> You have 2 cows; the Government takes both and sells you some milk.<p><b>Nazism:</b> You have 2 cows; the Government takes both and shoots you.<p><b>Bureaucratism:</b> You have 2 cows; the Government takes both, shoots one, milks the other and throws the milk away..<p><b>Traditional Capitalism:</b> You have 2 cows. You sell one and buy a bull. You herd multiplies, and the economy grows. You sell them and retire on the income.<p><b>An American Corporation:</b> You have 2 cows. You sell one, and force the other to produce the milk of four cows. Later, you hire a consultant to analyze why the cow dropped dead.<p><b>A French Corporation:</b> You have 2 cows. You go on strike because you want three cows.<p><b>Japanese Corporation:</b> You have 2 cows. You redesign them so they are one-tenth the size of an ordinary cow and produce twenty times the milk. You then create a clever cow cartoon image called Cowkimon and market them Worldwide.<p><b>An Italian Corporation:</b> You have 2 cows, but you don't know where they are. You break for lunch.<p><b>A Swiss Corporation:</b> You have 5000 cows. None of which belong to you. You charge others for storing them.<p><b>Chinese Corporation:</b> You have 2 cows. You have 300 people milking them. You claim full employment, high bovine productivity, and arrest the newsman who reported the numbers.<p><b>An Iraqi Corporation:</b> Everyone thinks you have lots of cows. You tell them that you have none. No one believes you and they bomb your arse. You still have no cows, but at least now you are part of a Democracy.......<p><b>Counter Culture:</b> 'Wow, dig it, like there's these 2 cows, man, grazing in the hemp field. You gotta have some of this milk!'<p><b>Surrealism:</b> You have two giraffes. The government requires you to take harmonica lessons.<p><b>Apathyologism:</b> You have 2 cows. You do not care.<p><b>Fatalist:</b> You have 2 doomed cows...<p><b>Atheism:</b> You have 2 cows. There is no God.<p><b>A West-Country Corporation:</b> You have 2 cows. That one on the left is kinda cute.<p><b>A Brazilian Corporation:</b> You have 2 cows. You pay taxes for 6 cows. You have to sell one cow in order to pay the taxes. Your remaining cow gets sick and dies while waiting for availability in the public vet hospital.<p><b>Russia:</b> You have two cows. Since they are both female, if you happen to keep them in the same stable you will pay a 5,000 rouble fine for homosexual propaganda.<p><b>PETA:</b> You have two cows. You kill them both. You then use naked women to convince other people that killing cows is wrong.<p><b>Moffat:</b> You have two cows. Both of them are your daughters time traveling from the past where they had a brief love affair with Da Vinci making you the rightful Queen of England. As you assume the throne, you throw them off a building.<p><b>Hussie:</b> You have 2 cows. You ask for another one. Instead of getting just 1 cow, you get 2,485,506 cows.<p><b>Romney:</b> You have 2 cows. You are not the president of the united states.<p><b>Once-ler:</b> You have 1 cow. Everyone decides to make 5 different versions of that cow.<p><b>Old Spice:</b> You have 2 cows. The cows are now diamonds. I'm on a horse.<p><b>An Irish Corporation:</b> You have a million cows because they're everywhere<p><b>Tumblr:</b> You have 2 cows. You ship them together and make GIF posts screaming about how much you love your cows, but they should stop existing because they are so perfect.<p><b>Also Tumblr:</b> I give you a hamburger.<p><b>Cows:</b> The shit you go through.<p><b>This post:</b> Started off as a post that explained different goverments but then everything changed when the fire nation attacked<p>

Source: british-tea-power