daughtersofdilla:

Alice “AliCè” Pasquini

AliCè is a visual artist, illustrator, set designer and painter. Based in Rome, she has lived and worked in U.K., France and Spain. AliCè has travelled the world bringing her art to the streets of many countries.  

“I create art about people and their relationships, I’m interested in representing human feelings and exploring different points of view. I especially like to depict strong and independant women.”

See more of her work here.

I love these! as much as I love singular heroic images (of some folks anyway), it’s so great to see these images that reveal how friendship and family is heroic.

(via disorganizedrobots)

Evo Morales (via myleahjuliette)

aka BELOVED’s children

(via howtobeterrell)

Eddie Izzard [Stripped] | Terms & Conditions

this is a much more fun way to talk about what I studied in sociology of law classes. And more true than a lot of what I read.

(via lilacsinthespring)

bankuei:

I get so done with people talking about hiphop is “stealing” anything as a genre. As a genre, hiphop has been about reclaimingthe music. Y’all racists ALWAYS show yourselves because we can always just compare how you respond when a white person does it vs. a black person - because if…

youmustfaceyourmortality:

karnythia:

ihavethisblog:

merrydeth16:

Rhianna ruined the term rude boy. no offense to Rhianna, i think she’s actually pretty good, but the whole rude boy thing kinda bugs me. Rude boy is a term for fans of ska. now i cant google rude boy without…

Ska is not a “white, watered down version of reggae” or “a mix of punk and reggae.”

Ska came before Reggae, it was a Jamaican creation, influenced by New Orleans Jazz and US R&B as well as mento (an earlier Jamaican musical form) and marching band music. That poster may be thinking of the *second* wave of Ska in the 1980s, which did revitalize the careers of some of the first wavers but also went in a more poppy direction and crossed over to white middle class audiences.

However the first wave of Ska was in the 1950s in Jamaica and crossed over to England with the waves of Jamaican migration after World War Two, and was important to the Jamaican migrant communities in England.  A multiracial audience for ska developed in England (especially among working class youth white and black), but that doesn’t mean it was a “white, watered down” version of anything. The term Rude Boy dates back to the pre-UK times (although it was popularized by Jamaican singers like Laurel Aitken in the UK as well) and does mean ‘gangster’ or tough guy.

nezua:

siemprevivalavida:

“Alejandra Cruz, who is defending her family’s home from eviction, closes her bank account in full Aztec dancer regalia at Wells Fargo as part of a mass day of action against the banks!”

hhhawkward

(via crunkfeministcollective)

guerrillamamamedicine:

i want to say this, about this photo, that i really disagree with this sentiment. tahrir is a square. in a specific geographical place. in downtown cairo. before the revolution, midan tahrir (liberation square), was the primary square one went through to get from a good amount of cairo to downtown…

marshmallowmegamama:

hey all—i’m back in safe and sound.

so tired. my lungs still hurt from today’s industrial corridor trip.

i’m fluctuating between being so sad i can hardly keep my eyes open, and inspired…

fighting so fucking hard cuz we know we deserve more…little village activists shut down one coal plant, the…

“

We hope this summer 2012 edition of Radical Black Reading can offer some respite from the hurly burly of an increasingly anti-Black World. High up on our list of summer reads is a classic from CLR James, one of The Public Archive’s spiritual mentors. A History of Pan-African Revolt, James’ pioneering account of global Black resistance against colonialism and racism, returns to print this summer. Originally published during a period of activity when James somehow managed to pen The Black Jacobins while translating Boris Souvarine’s biography of Josef Stalin, A History of Pan-African Revolt has been rediscovered, as historian Robin D.G. Kelley notes in its introduction, by successive generations of Black intellectuals and activists. It was published as a FACT monograph in 1938, by Drum & Spear in 1969, by Charles H. Kerr in 1995, and now by Oakland, California’s PM Press. For his part, Kelley has followed up on his astounding biography of Thelonius Monk with a volume that implicitly nods to the transnational politics evoked by James. In Africa Speaks, America Answers: Modern Jazz in Revolutionary Times (Harvard), Kelley maps the sonic interchange between jazz and African liberation in the music and thought of pianist Randy Weston, bassist Ahmed Abdul-Malik, drummer Guy Warren, and vocalist Sathima Bea Benjamin.

The history of Black Atlantic crossings and African internationalism is also a theme in a crop of recent books, many of which also interrogate the contemporary history of globalization, neoliberalism, and imperialism. Cheryl Higashida’s Black Internationalist Feminism: Women Writers of the Black Left, 1945-1995 (Illinois) examines how writers including Claudia Jones, Lorraine Hansberry, and Audre Lorde grappled with the literary norms of literary forms while forging a global political community. Anthropologist Jemima Pierre’s highly anticipated The Predicament of Blackness: Postcolonial Ghana and the Politics of Race (Chicago) promises to revise the status of Africa within Black Atlantic discourses while turning the calcified tradition of Africanist anthropology on its head.”

READ The whole amazing post here: http://thepublicarchive.com/?p=3226

(image: Alfred and Bernice Ligon own the Aquarian Book Shop, probably the oldest black-owned bookstore in Los Angeles)

stfuconfederates:

• Kōbō Abe
• Maria Acosta
• Linda D. Addison
• Saladin Ahmed
• Sherman Alexie
• K. S. Augustin
• Malcolm Azania
• L.A. Banks
• Steven Barnes
• Derrick Bell
• Aliette De Bodard
• Tempest K. Bradford
• Maurice Broaddus
• Joseph Bruchac
• Octavia E. Butler
• Raphael Carter

(via reallyreallyokthen)