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oozey mess
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will byers stan first human second
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tannertan36
let's talk about Bridgerton tea, my ask is open
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pixel skylines
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Misplaced Lens Cap
RMH
I'd rather be in outer space 🛸
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Show & Tell
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Not today Justin

JVL

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@mikey-margiela
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Sincere (Belly 1998)
Dapper Dan: The Hip Hop Tailor of Harlem
From his eponymous store on E 125th in Harlem, Dapper Dan (real name Daniel Day) presided over a remarkable fashion emporium in the 80s and 90s. His uptown clientele was a heady mix of hustlers, street cats and hip hop royalty, all of whom shared a mutual love of what Dap himself called a ‘macho type of ethnic ghetto clothing’. That’s Harlem shorthand for streetified-luxury, a glorious melange of status symbols such as mink, ostrich, crocodile and python married with his own trademark remix on Louis Vuitton, Gucci, MCM, and Fendi yardage.
LL Cool J, Big Daddy Kane, Salt ‘n’ Pepa, Run DMC, Fat Boys and Public Enemy publicly repped Dapper Dan hard and his fame quickly spread beyond the local hood. Peep Eric B and Rakim’s Follow the Leader and Paid in Full for classic Dapper Dan outfits in full effect. Mike Tyson famously punched out opponent Mitch Green in front of the store whilst on his way to pick up the classic ‘Don’t Believe the Hype’ jacket. The place became notorious.
Jackets, bags, hats, two-tone jumpsuits with all-over prints – there was nothing Dapper Dan wouldn’t cover in acres of hand-printed and embossed leather. Gucci seat covers, LV-inspired upholstery and a famous convertible lid for Rakim’s Jeep showed Dap’s talent for entrepreneurial diversification. Another iconic ensemble was a Louis Vuitton jacket with huge gold Mercedes badges. Less well known were the sneakers that matched his jackets, but shoes were definitely on the menu at Dapper Dan’s. The Fat Boys for example repped Nike Air Force 1s with Gucci Swooshes on the cover of their long player Crushin’. Nearly everything was a one-off designed for an individual, making Dapper Dan one of the OGs at customizing.
As his fame and fortune grew, the European fashion houses swooped. Infuriated by the very public knock-off of their trademarks and inflamed by their utter rejection of black, urban culture, they took legal action against Dap and he went underground.
Source
Father and son performing the alphabet song to a trap beat
New Jack City
🎨 Inquiries :📧 [email protected]
Martin x The Proud Family Series
Oscar and Trudy Proud star as Martin and Gina in my “Martin” cross over rendition as Proud Family characters. Dijonay is no longer chasing Sticky around as she takes the role of Pam. Sticky is casted as Cole along with Wizard Kelly starring as Tommy in the 90s hit sitcom show.
Prints & t-shirts Available Inbox or email 📨[email protected]
IG @AshleighSharmaine Twitter @YoAshIsDope
#ashleighsharmaine #yoashisdope
Blacks Folks in Film: 50s-70s
edit: swapped out guess who’s coming to dinner with the wiz
Oh my god
Gordon Gekko - Bud Fox - Wall Street
The richest one percent of this country owns half our country’s wealth, five trillion dollars. One third of that comes from hard work, two thirds comes from inheritance, interest on interest accumulating to widows and idiot sons and what I do, stock and real estate speculation. It’s bullshit. You got ninety percent of the American public out there with little or no net worth. I create nothing. I own. We make the rules, pal. The news, war, peace, famine, upheaval, the price per paper clip. We pick that rabbit out of the hat while everybody sits out there wondering how the hell we did it. Now you’re not naive enough to think we’re living in a democracy, are you buddy? It’s the free market. And you’re a part of it. You’ve got that killer instinct. Stick around pal, I’ve still got a lot to teach you.
Gordon Gekko, Wallstreet (via randommoviequote)
“The Black Chicago Renaissance”
You may have heard of the Harlem Renaissance, but now there’s a growing awareness of the Black Chicago Renaissance.
“…Beginning in the 1930s, Black Chicago experienced a cultural renaissance that lasted into the 1950s and rivaled the cultural outpouring of the Harlem Renaissance of the 1920s. The contributors to this volume analyze this prolific period of African American creativity in music, performance art, social science scholarship, and visual and literary artistic expression.
Like Harlem, Chicago had become a major destination for black southern migrants. Unlike Harlem, Chicago was also an urban industrial center that gave a unique working-class and internationalist perspective to the cultural work being done in Chicago. This collection’s various essays discuss the forces that distinguished the Black Chicago Renaissance from the Harlem Renaissance and place the development of black culture in a national and international context. Contributors will also provoke explorations of renaissances in other cities. Among the topics discussed in this volume are Chicago writers Gwendolyn Brooks and Richard Wright, The Chicago Defender and Tivoli Theater, African American music and visual arts, and the American Negro Exposition of 1940…”
– See the author, Darlene Clark Hine, speak about book and Chicago Renaissance HERE
Day 30 of #BlackHistoryYouDidntLearnInSchool - Stokely Carmichael (Kwame Ture)
Black Power Mixtape 1967-1975
Stokely Carmichael quotes:
[Black power] is a call for black people to define their own goals, to lead their own organizations.
There has been only a civil rights movement, whose tone of voice was adapted to an audience of liberal whites.