Robert Glasper Experiment - Afro Blue (Feat. Erykah Badu)

❣ Chile in a Photography ❣

Kiana Khansmith
Mike Driver
occasionally subtle
Today's Document

tannertan36
macklin celebrini has autism

pixel skylines
wallacepolsom
TVSTRANGERTHINGS
cherry valley forever
Peter Solarz

Kaledo Art

PR's Tumblrdome

Discoholic 🪩
Sade Olutola
Cosimo Galluzzi
No title available
Sweet Seals For You, Always
KIROKAZE

seen from Malaysia
seen from Norway

seen from Ukraine

seen from Saudi Arabia
seen from United States

seen from United States
seen from Russia
seen from United States

seen from United States

seen from United States

seen from Malaysia

seen from Italy

seen from United States
seen from United States

seen from Canada

seen from United States
seen from United States

seen from United States

seen from Malaysia

seen from Russia
@makingwavves-blog
Robert Glasper Experiment - Afro Blue (Feat. Erykah Badu)
Kehinde Wiley
http://www.washingtonpost.com/entertainment/museums/kehinde-wiley-explains-his-an-economy-of-grace-paintings-focusing-on-black-women/2014/10/03/e78657d4-4355-11e4-b47c-f5889e061e5f_story.html?wprss=rss_entertainment
Happy Birthday
There is a reason Osama bin Laden was brought back dead rather than alive. The U.S. government didn’t want to try him. They didn’t want bin Laden, a former partner of the CIA, to recall in intimate detail the U.S. sponsored terrorism in the Middle East that has killed millions. They didn’t want to remember that before the Taliban they funded, trained, and partnered with the Mujahideen and countless other militias in proxy wars with the USSR, devastating and destabilizing entire regions in the process. LEAST of all did the U.S. government want a lesson in historical accuracy to rally the victims of U.S. oppression around the fact that AmeriKKKa has never given a shit about brown bodies — not here, not anywhere. Nope. They didn’t want any of that. What the U.S. government DID want was a trophy for U.S. imperialism. They wanted to hang a dead body in the public square. They wanted a dead body because DEAD BODIES DON’T TALK. This is why Fred Hampton never spoke again. Why Dr. King never spoke again. Why Malcolm X never spoke again. Why Huey P. Newton never spoke again. Why George Jackson, John Huggins, Bunchy Carter, Sylvester Bell, and so many others never spoke again. Any threat to the hegemony of AmeriKKKa’s narrative that it is the benevolent land of milk and honey — of democracy and freedom — MUST be dealt with.
A captured or dead Assata wouldn’t be just to silence her; it would be to silence us | AmericaWakieWakie (via america-wakiewakie)
Petite Noir Ft. Yasiin Bey (Mos Def) Till We Ghosts
Mos Def - Umi Says
In this Interview with Montreality, the RZA speaks about: - The type of student he was at school (0:18) - Jobs he had as a teenager growing up (1:19) - His 1st big paycheck (3:48) - His favorite cartoon character (4:33) - His favorite videogame (5:28) - What he thinks he were in a previous lifetime (6:09) - His final (solo) studio album - The Cure (7:29) - The Wu-Tang reunion album - A Better Tomorrow (8:37) - Good times with Ol' Dirty Bastard, ODB hologram (10:30) - The "Bobby Digital" saga, plans to release the amateur film this year (13:08) - Who Hip-Hop belongs to (13:58) - His message to the youth (15:09)
If you’re mad…turn off your television…go into your hood and ORGANIZE! If you want to destroy racism/white supremacy it starts in YOUR city…in YOUR neighborhood.
DO NOT wait for justice to be delivered from an unjust system. Build POWER for YOUR community so that they can not shoot us without fear of repercussions.
#B4DAMONEY is more than an album.. It’s a mind state. The music is the motivation. I want you to feel invincible.. Like you can do anything.
Music
Sonia Sanchez & Mos Def. Common & Maya Angelou
Nas - The Season (Prod. By J Dilla)
Nasir Jones seems ready to address the ghostwriting controversy of 2012 on his latest recording produced by the late J Dilla. The Queens native flows, “Jay Elect doesn’t write it/ Hov couldn’t write it/ He’s vacationing…” Whatever the case, the song is on point.
Yasiin Bey had the following recorded statement to share regarding the Eric Garner grand jury decision, ongoing unrest in Ferguson, Missouri and around the world.
(Note: The following piece was written by Angela Davis for The Guardian)
Although racist state violence has been a consistent theme in the history of people of African descent in North America, it has become especially noteworthy during the administration of the first African-American president, whose very election was widely interpreted as heralding the advent of a new, post-racial era.
The sheer persistence of police killings of black youth contradicts the assumption that these are isolated aberrations. Trayvon Martin in Florida and Michael Brown in Ferguson, Missouri, are only the most widely known of the countless numbers of black people killed by police or vigilantes during the Obama administration. And they, in turn, represent an unbroken stream of racist violence, both official and extra-legal, from slave patrols and the Ku Klux Klan, to contemporary profiling practices and present-day vigilantes.
More than three decades ago Assata Shakur was granted political asylum by Cuba, where she has since lived, studied and worked as a productive member of society. Assata was falsely charged on numerous occasions in the United States during the early 1970s and vilified by the media. It represented her in sexist terms as “the mother hen” of the Black Liberation Army, which in turn was portrayed as a group with insatiably violent proclivities. Placed on the FBI’s Ten Most Wanted list, she was charged with armed robbery, bank robbery, kidnap, murder, and attempted murder of a policeman. Although she faced 10 separate legal proceedings, and had already been pronounced guilty by the media, all except one of these trials – the case resulting from her capture – concluded in acquittal, hung jury, or dismissal. Under highly questionable circumstances, she was finally convicted of being an accomplice to the murder of a New Jersey state trooper.
Four decades after the original campaign against her, the FBI decided to demonize her once more. Last year, on the 40th anniversary of the New Jersey turnpike shoot-out during which state trooper Werner Foerster was killed, Assata was ceremoniously added to the FBI’s Ten Most Wanted Terrorist list. To many, this move by the FBI was bizarre and incomprehensible, leading to the obvious question: what interest would the FBI have in designating a 66-year-old black woman, who has lived quietly in Cuba for the last three and a half decades, as one of the most dangerous terrorists in the world – sharing space on the list with individuals whose alleged actions have provoked military assaults on Iraq, Afghanistan and Syria?
A partial – perhaps even determining – answer to this question may be discovered in the broadening of the reach of the definition of “terror”, spatially as well as temporally. Following the apartheid South African government’s designation of Nelson Mandela and the African National Congress as “terrorists”, the term was abundantly applied to US black liberation activists during the late 1960s and early 70s.
President Nixon’s law and order rhetoric entailed the labeling of groups such as the Black Panther party as terrorist, and I myself was similarly identified. But it was not until George W Bush proclaimed a global war on terror in the aftermath of 11 September 2001 that terrorists came to represent the universal enemy of western “democracy”. To retroactively implicate Assata Shakur in a putative contemporary terrorist conspiracy is also to bring those who have inherited her legacy, and who identify with continued struggles against racism and capitalism, under the canopy of “terrorist violence”. Moreover, the historical anti-communism directed at Cuba, where Assata lives, has been dangerously articulated with anti-terrorism. The case of the Cuban 5 is a prime example of this.
This use of the war on terror as a broad designation of the project of 21st-century western democracy has served as a justification of anti-Muslim racism; it has further legitimized the Israeli occupation of Palestine; it has redefined the repression of immigrants; and has indirectly led to the militarization of local police departments throughout the country. Police departments – including on college and university campuses – have acquired military surplus from the wars in Iraq and Afghanistan through the Department of Defense Excess Property Program. Thus, in response to the recent police killing of Michael Brown, demonstrators challenging racist police violence were confronted by police officers dressed in camouflage uniforms, armed with military weapons, and driving armored vehicles.
The global response to the police killing of a black teenager in a small mid-western town suggests a growing consciousness regarding the persistence of US racism at a time when it is supposed to be on the decline. Assata’s legacy represents a mandate to broaden and deepen anti-racist struggles. In her autobiography published this year, evoking the black radical tradition of struggle, she asks us to “Carry it on. / Pass it down to the children. /Pass it down. Carry it on … / To Freedom!”
Angela Davis is Distinguished Professor Emerita, history of consciousness and feminist studies, at the University of California, Santa Cruz. She wrote the foreward for Assata: An Autobiography