(Source: unicorn-meat-is-too-mainstream)


Wildfox SS 13: The Kid’s In America, A Tribute to Amy Heckerling.

Style has a profound meaning to Black Americans. If we can’t drive, we will invent walks and the world will envy the dexterity of our feet. If we can’t have ham, we will boil chitterlings; if we are given rotten peaches, we will make cobblers; if given scraps, we will make quilts; take away our drums, and we will clap our hands. We prove the human spirit will prevail. We will take what we have to make what we need. We need confidence in our knowledge of who we are.

Nikki Gionvanni

File this under facts on facts.

This makes me think of a beautiful post that I mentioned in one of my Read This Week features; a post by @HarrietThugman about Black people of other cultural backgrounds who diminish Black American culture, and shouldn’t….for it is so rich.

My cultural heritage involves a mixture of my love for some things specific to Jamaican culture (because of my background, being raised in a Jamaican family by Jamaican parents, but being raised in America and actually born in America) and some things specific to being an American Black (I love how Nikki says Black is the NOUN and American is the adjective), and some things that seems to connect Black people despite where in the diaspora we are.

(via gradientlair)

This is so beautiful and so true.

(via justshe)


(via onehelllofawoman)


Not much has changed.

Understanding Hipster Racism: Lester Bangs’ 1979 “White Noise Supremacists”


But why is hipster racism, bigotry as an edgy joke for white people (and other people), so persistent? For answers, ThinkProgress’ Alyssa Rosenberg points us toward an 1979 Village Voice article by influential music critic Lester Bangs, titled “The White Noise Supremacists” [PDF] — and it’s sickeningly familiar. Bangs was an integral part of the late ’70s / early ’80s CBGB’s scene in New York City, a scene which has been posthumously hailed as a high point for racial harmony in which punk, rap, reggae, and new wave all came together. Bangs describes it less charitably as a place where white punks rebelled against everything, and quickly forgot why they’d gotten started. The result? What he refers to as “racist chic,” the employing of swastikas and epithets to get a rise out of some authority or other, and the resulting deeply homogeneous scene that offers no trouble to the actual-racist CEOs of the record industry.

Bangs calls out a lot of people and names a lot of complicated factors, but is hardest on himself. It’s an essential inside look at the mechanics of white-dominated counterculture, a decades-old movement that wants authenticity from people of color and not much else.