(Source: chetmanley, via glitterlion)


certain factions of tumblr social justice

(Source: galllagher, via sadbrownwomanparty-deactivated2)






The reason people hate on Macklemore so much is because he represents white America’s latest attempt to colonise rap music, just like they did with rock. If this continues, in fifteen years time, it will be just like with rock and people are going to act like everything started with Eminem, Diplo and Macklemore and then Black Americans will have to invent something else for white Americans to steal.

Although…he actually checks his privilege and addresses that exact same thing with his song “White Privilege.” It isn’t popular at all though of course.

He raps about his white privilege and the misappropriation of Black music…while rapping..

That’s like stealing bread, making a sandwich…and then charging people for the sandwich…while telling them that stealing bread is wrong….how do people not realize how ass backwards that is?

“Yea man, it’s really terrible that Black people’s music keeps getting stolen. Welp, I’m just gonna go over here and steal me some Black music. But hey, at least I acknowledged it’s fucked up!”


So what he shouldn’t rap at all? He shouldn’t acknowledge the race issue? Should he rap like Young Jeezy? That’s the most ass backwards observation I’ve seen. 

If he wasn’t acknowledging his status as a sore thumb and a minority in the genre that’s when I’d be worried about his intent…Elvis wasn’t singing about the exclusionary blues…he just came in like he owned the shit

Hip-Hop is never going to be anything but Black Music …it’s too entrenched in our communities and culture. Rock was not 40 years old when it was infiltrated, it was still in it’s infancy. That’s what people always ignore with that nearsighted comparison.

They can trump up every white electro artist they want but when an organic movement comes up they’ll have no choice but to accept that. Say what you want about the content but when the 50 Cents, Young Jeezys, No Limits come along and manage to get people to support them from literally nothing their impact is undeniable and that will never go anywhere. You can’t suppress that.

And most importantly Hip-Hop will always cater to us because these record labels will never let up on their stranglehold on black youth. As long as they can promote a self destructive, materialistic lifestyle as cool through Hip-Hop they will do it. They don’t want to enlighten us, and that’s our morbid ace in the hole.

Where is our self esteem where a couple white rappers show up and we feel threatened that Uncle Sam is ready to take our booths away? Macklemores and Mac Millers are just an example of diversity…it’s 2013..they got some shit to kick let them.

Why do you think the next Waynes and Jay-Zs will suddenly wake up in their hoods like “this is that white people music”…wake up thinking they don’t have “real shit” to kick…the aesthetic of the street is just too entrenched…it just so happens we’re in a down period but look at Kendrick Lamar…if you can do it right it will be accepted. He’s the new face of Gangsta Rap, a strictly reflective POV that allows him to stay safe and viable as opposed to a Tupac who was a ticking timebomb.

I really wouldn’t be opposed to destroying and rebuilding the game though. After all these older rappers finally sit down we should change the rules and parameters of what’s good music and how we deliver it. Say fuck the labels.

Macklemore shouldn’t rap


Doesn’t matter if he acknowledges his privilege

Saying you have privilege while exercising that privilege and making money doing so is still appropriate


(Source: gharaajapardesi, via kemeticballbuster)





where is yongguk sharpton

nothing like getting your fetishizing racism tatted on you forever





where is yongguk sharpton

nothing like getting your fetishizing racism tatted on you forever

(via magnacarterholygrail)



u know, i just want to apologize for ever wearing a bindi

to be honest, my step dad and step brothers are from india and some of that stuff just kind of became normal because i grew up with it.  like my mom and step dad had a traditional hindu wedding where they made me wear a sari and stuff.  my step dad was stoked on the bindi so i never really questioned it.  

and when ur just chilling around town you dont think of the stuff you wear having repercussions outside of the reality of ur day to day life and its difficult to grasp the fact that stuff i do gets viewed by people i dont know on the internet and all that.  but yeah, there is a fine line between homage and appropriation.  

I just wasn’t thinking.  I feel like we live in this weird zone where because of the internet everything is being appropriated without context and it can result in really original and diverse art.  but it also seems to result in uninformed and therefore disrespectful things.  

I dunno.  I just want to say that I feel bad.  i stopped doing it a while ago but its been nagging at me and i wish to apologize <3

hopefully i haven’t offended anyone.  well, actually i know for a fact that I have offended some people.  So, i am sorry.  



p.s. —  a friendly request that this not turn into news or anything.   this blog is for personal use and engaging with fans in a non corporate way - anything on here right now is not an ‘official statement’ its just my thoughts.    

when ur just chilling around town you dont think of the stuff you wear having repercussions outside of the reality of ur day to day life” is a really good quote to describe white privilege. why do boring white people get famous? 


anonymous asked: I’m a white dude who used to have dreads and I just want to say I’m sorry so so sorry


Tags: white dreads



is it polyamory when my immigrant filipin@ family raised me as a network and community of love because everyone had different times off from work and they were all dependent on one or another

or is it only when thin white people fuck more than one thin white person?

i got chills from all the truth in this

(Source: merbakla, via una-homura-sin-madoka-deactivat)

Angela Davis on violence

  • when she was in the California State Prison - 1972
  • Interviewer: a year ago the black panthers were much more active. We heard much more about that type of struggle. Is the time of the black panthers past?
  • Angela davis: the black panthers still exist, and the black panthers are still extremely active in the Oakland community and communities all over the country. I’m not sure whether or not you are aware of what is now happening in the black panther party and the kinds of things that the members of that party are doing now.
  • Interviewer: no but tell me.
  • Angela davis: first of all, if you’re gonna talk about a revolutionary situation, you have to have people who are physically able to wage revolution, who are physically able to organize and physically able to do all that is done.
  • Interviewer: but the question is more, how do you get there? Do you get there by confrontation, violence?
  • Angela davis: oh, is that the question you were asking? yeah see, that’s another thing. When you talk about a revolution, most people think violence, without realizing that the real content of any revolutionary thrust lies in the principles and the goals that you’re striving for, not in the way you reach them. On the other hand, because of the way this society’s organized, because of the violence that exists on the surface everywhere, you have to expect that there are going to be such explosions. You have to expect things like that as reactions. If you are a black person and live in the black community all your life and walk out on the street everyday seeing white policemen surrounding you… when I was living in Los Angeles, for instance, long before the situation in L.A ever occurred, I was constantly stopped. No, the police didn’t know who I was. But I was a black women and I had a natural and they, I suppose thought I might be “militant.” And when you live under a situation like that constantly, and then you ask me, you know, whether I approve of violence. I mean, that just doesn’t make any sense at all. Whether I approve of guns. I grew up in Birmingham, Alabama. Some very, very good friends of mine were killed by bombs, bombs that were planted by racists. I remember, form the time I was very small, I remember the sounds of bombs exploding across the street. Our house shaking. I remember my father having to have guns at his disposal at all times, because of the fact that, at any moment, we might expect to be attacked. The man who was, at that time, in complete control of the city government, his name was Bull Connor, would often get on the radio and make statements like, “niggers have moved into a white neighborhood. We better expect some bloodshed tonight.” And sure enough, there would be bloodshed. After the four young girls who lived, one of them lived next door to me…I was very good friends with the sister of another one. My sister was very good friends with all three of them. My mother taught one of them in her class. My mother—in fact, when the bombing occurred, one of the mothers of one of the young girls called my mother and said, “can you take me down to the church to pick up Carol? We heard about the bombing and I don’t have my car.” And they went down and what did they find? They found limbs and heads strewn all over the place. And then, after that, in my neighborhood, all the men organized themselves into an armed patrol. They had to take their guns and patrol our community every night because they did not want that to happen again. That’s why, when someone asks me about violence, I just, I just find it incredible. Because what it means is that the person who’s asking that question has absolutely no idea what black people have gone through, what black people have experienced in this country since the time the first black person was kidnapped from the shores of Africa.


So I was away for a while, and I’ll not talk about where I was. Some of you may deduce from what I say, and that’s fine. 

Anyway, we were all sitting around, staff included, talking about our favorite music, and the artists who make it, and the genres we like or don’t like, and one of the staff goes:

“But you know who I hate, I mean, just hate?” Kanye West! I can’t stand him!”

And I was like, jokingly, thinking she would just say she didn’t like his music, or that she thought he had a bad attitude (which he’s arrogant and that’s whatever), “wha…? Hate… Kanye…? Those don’t really go together, I don’t understand…”

And she said, “You know why? You know what he said?! He goes, ‘I don’t make music for white people.’ I just, I hate him! Ugh!”

And she said all of this with the screw-est of screw faces you can imagine. She, apparently, really hates Kanye West for saying that.

Now, some of us have had this conversation before, in which we discuss how the vast majority (I hate having to add a qualifier here, but I know I need one, sadly) of white people can’t stand to 1) be called white, and 2) be told something isn’t for them.

And I know she’s thinking, Kanye West hates white people. Maybe that’s true, I don’t know what’s in his head, but that’s actually not what he said, nor is it, in my opinion, what he meant in any translation of that sentence. See, Kanye is a hip-hop artist, and hip hop is hood music.

What does that mean, what does it mean to make hood music?


Hip hop was born in the hood, it was born of a need for AfAm children and youth and young adults to be heard, to be able to express their frustration at a world that would see them in pain and do nothing, that would flood their streets with violence1 of all kinds and watch them bleed and die, and do nothing, and a government largely built up of white men who would rather politick than make any actual progress.

1let’s please not argue the semantics of the definitiions of violence. if you are sitting here stuck on Merriam-Webster or dictionary.com or their ilk, you have a lot to learn, and maybe this post isn’t for you. and that’s okay.

Hip hop was created by, for and about Black American people and their lives. It is for, by and about us. It always has been. We are talking to and about ourselves and each other. We are not talking to you. We’re just not. 

That’s not to say you can’t listen to us. That’s not to say you can’t dance to it, or try to understand where we’re coming from, and it’s all right if you try. That’s not to say that the relative few white folks in, near, from or adjacent to the hood who have some idea can’t enjoy it too. That’s not to say that the white folks in mansions can’t bump it at parties even though they don’t have any fucking idea.

But it’s not for you. Does that make sense? 

I mean, even the language is for us.

When Nicki Minaj said “I bees in the trap, beez-beez in the trap,” half the world didn’t have any damn idea what the hell she was talking about until a Black person, or someone who spent a lot of time around AfAm people (or someone who watched that episode of whatever show she was on) explained it to them — no, I’m not going to do that here, look it up. Hip hop is full of expressions that y’all just aren’t going to get, which further shows that it just isn’t for you. We’re talking to each other, about each other, about ourselves. Black American braggadocio, ftw, and yes, sometimes ftl. That’s okay too. 

Back to Kanye:

That one line, in Golddigger

“And when he get on, he’ll leave ya ass for a white girl”


It is about the pressure Black men face when they achieve success to fit in to what society believes, or has been led to believe, is acceptable. This often does not include a Black partner, particularly a dark-skinned Black woman, and most particularly, a dark-skinned Black woman from a lower income neighborhood or a lower class family. Leaving the long-time lover who supported him when he had nothing, who dealt with his shit when he fought and hustled, and loved him when he struggled to love himself is a symptom of Whiteness that Kanye addressed beautifully in that song one damn line, and likely flew past many melanin-challenged ears. 

How even though we’ve been here, we’re still called gold-diggers in the end, huh…?


Anyway, the entire song is not about white girls in any way. Or white men in any way. He is talking to Black men and women about Black relationships. Go back and listen to it. i mean, is it possible to relate some of the lines to other races and ethnicities? Probably. But that’s not who he’s talking to. That song? Not for you. Most of his music? Not for you, white folks. I hate to tell you (I really don’t).

But that’s okay.

I mean, most TV shows? White folks, nowhere near the hood. They talk about the hood, and crack jokes about being stuck in the hood, haha it’s so dangerous, did you get robbed, lol i couldn’t get a cab, but that’s about it. Most movies? white folks, nowhere near the hood, unless they’re cops, or victims of some crime, or the butt of some joke (Malibu’s Most Wanted much?). So much media is full of white folks, y’all can pick and choose. 

It’s not meant to be a consolation prize, it’s factual, so I mean, if that makes you feel better, and even if it doesn’t


Hood music is for, of, about, and from the hood. And let’s be real, the vast majority of white people are not in, near, from, or adjacent to the hood.

But that’s all right. There isn’t anything wrong with that (musically speaking, anyway — the sociology is something else entirely).

So, to sum it up:

Azzedine Alaia doesn’t make gowns for Burger King employees to wear to work.

Timberland doesn’t make boots for the red carpet.

Red carpets aren’t made for your kitchen floor (generally speaking).

And hood music isn’t made for Beverly Hills parties.

It’s really not for white people.

Of course you can playit. No one ever said you can’t. Do you, boo boo. Go ahead, enjoy it, they’re your ears, it’s your money, it’s in the clubs, it’s on the radio, it’s in the stores, play it, buy it, enjoy it, shake ya ass (but watch ya’self). 


But it’s not for you.

And that’s okay.

(Source: deliciouskaek, via grrlyman)

What do you get when you combine Vanilla Ice, Apartheid, race fail and cultural appropriation?


“Die Antwoord”

(via glitterlion)