Pharoah.
Background Illustrations provided by: http://edison.rutgers.edu/
Reblogged from langsettte  54,730 notes
your honestly just an ugly nigger

langsettte:

omg guys! i literally just installed this thing where people who *think* they’re clicking on anon, aren’t. and well well well look what we have here

me:image

you:

image

what kind of extreme inbreeding teas! what kind of i live on a ranch and sneak into the barn every night and have sex with my brother and my horse teas?

and of course, you follow me. proof that in general, hate mail comes from fans who’s presence we are literally unaware of

image

I mean I could go on but I’m literally beyond embarrassed on your behalf i hope your future employer at the gas station sees this and decides not to hire you you ugly squidward bitch

Reblogged from christhepusher  2,745 notes

Having been enslaved for 250 years, black people were not left to their own devices. They were terrorized. In the Deep South, a second slavery ruled. In the North, legislatures, mayors, civic associations, banks, and citizens all colluded to pin black people into ghettos, where they were overcrowded, overcharged, and undereducated. Businesses discriminated against them, awarding them the worst jobs and the worst wages. Police brutalized them in the streets. And the notion that black lives, black bodies, and black wealth were rightful targets remained deeply rooted in the broader society. Now we have half-stepped away from our long centuries of despoilment, promising, “Never again.” But still we are haunted. It is as though we have run up a credit-card bill and, having pledged to charge no more, remain befuddled that the balance does not disappear. The effects of that balance, interest accruing daily, are all around us. By

The Case for Reparations by Ta-Nehisi Coates

If you are not reading this, what are you doing.

(via therumpus)

I’ve seen black musicians when they’d be jamming at a jam session with white musicians—a whole lot of difference. The white musician can jam on something that he’s heard before. If he’s heard it, then he can duplicate it or he can imitate it or he can read it. But the black musician, he picks up his horn and starts blowing some sounds that he never thought of before. He improvises, he creates, it comes from within. It’s his soul, it’s that soul music. It’s the only area on the American scene where the black man has been free to create. And he has mastered it. He has shown that he can come up with something that nobody ever thought of on his own before.

Well, likewise he can do the same thing if given intellectual independence. He can come up with a new philosophy. He can come up with a philosophy that nobody has heard of yet. He can invent a society, a social system, an economic system, a political system, that is different from anything that exists or has ever existed anywhere on this earth. He will improvise; he’ll bring it from within himself. And this is what you and I want.

By

Malcolm X, Founding Rally of the Organization of Afro-American Unity (1964)

(via colormysoul)

studioafrica:

THE WOMEN OF AFROFUTURIST SOUND by Kareem Reid (westindians)

These women are just a few examples of pioneers in contemporary art and culture that offer unique perspectives on the multi-narratives and realities of black femininity. They often re-appropriate and challenge mainstream representations of black female bodies, sexuality and desire. Emphasis is placed on the inherently fluid nature of their identities and often present themselves as aliens or androids to communicate their “otherness”, a common thematic trend among Afrofuturist artists.

Betty Davis and Grace Jones in the 70s and 80s preceded the huge commercial success of many acts of the 90s; particularly girl group TLCJanet JacksonMissy Elliott and cult favourites Aaliyah and Kelis played key roles in bringing Afrofuturist aesthetics to the forefront of popular culture.

The rise of emerging artists Janelle Monae,THEESatisfaction, Solange, Kelela and Moko are encouraging signs of a new wave of enigmatic performance artists charged with the double-objective of making us dance as well as think.