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DIASPORIC DISSENT // more flavor than you can shake a stick at
- Audre Lorde (via fuckyeahlgbtqblackpeople)
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go-comatose-for-me-baby:

Follow me for more weed on your dash :D!

loveelevationart:

“No free negro shall come, reside in, or be within this state… the legislation shall provide by penal law for the removal of all such negroes and for their exclusion from the state” - Oregon’s 1857 constitution… not “officially” repealed until 1926.. Today Oregon has a black population of 2%. 

The Black Portlanders has a goal of introducing the stories and dreams of Black Portlanders to the world. At this moment, I’m in the midst of a great challenge and fight to keep this project going. I am in the last hours of anIndiegogo campaign to fund the continuance of The Black Portlanders. We are raising a total of $15,000 for essential equipment, development funds, and to save a crucial crashed hard drive that holds the entire first 8 months of The Black Portlanders. Yes.

We must reach our goal by 11:59 Monday night. - Intisar Abioto

http://www.indiegogo.com/projects/the-black-portlanders/

theblackportlanders.com

http://facebook.com/theblackportlanders

https://medium.com/p/5056b56554de

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blackmagicalgirlmisandry:

quickweaves:

The kid in the blue grew up to become iconic femme queen face iconic femme queen performer and Legendary Mother of the house of Laperla, Alyssa Laperla

(x) here’s a video of her from 2011, this makes me so unbelievably happy because I always feared the worst had happened to them 

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thebigblackwolfe:

White feminists need to understand that not all men are sexualized in a way that wholly benefits them. That is something exclusive to white men point blank period.

Because MOC are sexualized in ways that remove their agency and their humanity, and most times this is perpetrated by both white women and white men.

So when you’re talking about the sexualization of men giving men power, you need to be specific about which group of men you’re talking about.

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kararikue:

bemasculinenewyork:

Marlon
28
Bushwick, Brooklyn

——————-

"If the fact that I am a male is not enough to “be masculine" then, obviously to “be masculine” is performance… and for me it has always been a high-pressure performance, that has always been terribly acted. One of my first performances was after being confronted by other boys at school. As I clutch my home-made Spice Girls Trapper Keeper to my chest, these boys tell me to “man up” cause “your acting like fag or something” and I… not even fully aware of what “fag” means, tense up and take from these guys their mumbling, yet aggressive, yet inarticulate cues as to how to behave in order to avoid continued questioning and embarrassment – I take those cues and perform, the only way I know how… I look down, purse my lips, lean back and say, “Psssh, Dude, Whaaat? Dude…Fag? What?”

Whenever I actively try to “be masculine” it feels like that type of pressure again… and confusion, always wondering why; even though I have a dick, being male alone is not enough to “be masculine”.  

I haven’t worked very much on my performance skills, these days I go back to what I did as a kid. I dumb myself down to bro myself up. But in doing this, I realize that 90% of the examples of responsibility, leadership, power, loyalty, safety, sacrifice and achievement in my life have been displayed by women. Many of the examples of masculinity I’ve seen in my life have been of reticence, destruction and arbitrary aggression. This is not to say that men are all destructive, they’re not, I love men, they’re great, but I place no premium on this sense of masculinity- I can be powerful without having to “be masculine.” A strong brow and a nude lip are enough for me to pay homage to those- teachers, my mom, Hillary Clinton, etc- who’ve proven with their lives that being masculine is literally just for show.”

We as femme cis men have a very complicated relationship with masculinity. We are often very attracted to it but have consistently been unable to attain it. This gets even more complicated when we involve race, and our attraction to and rejection by white masculinity.

However, notice how quickly we use transmisogyny and cissexism to try and shimmy our way into the Boys Club of Masculinity.

He mentions how having a dick and (therefore) being male hasn’t been enough to afford him masculinity.

It’s a lament that charged with pain and a history of exclusion. But it does not change the fact that equating penis with maleness is incredibly cissexist and in particular, incredibly transmisogynistic.

But he is not alone in doing that. Hell, I’ve done so in the past.

Femme cis men, we gotta do better.

When we base our maleness on our penises, we erase the existence of our femme trans brother. When we base our maleness on our penises, we have committed an act of violence on our trans sisters and trans feminine siblings.

And all for what? To be accepted as a lesser form of maleness? To be dirty secrets whispered only between 12 and 3 am?

We gotta do better y’all. We seriously do.

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freedominwickedness:

saturnineaqua:

intheindigo:

shanellbklyn:

historicaltimes:

Babies are strapped into airplane seats enroute to LAX during “Operation Babylift” with airlifted orphans from Vietnam to the US. April 12, 1975.

This looks dangerous as fuck 😒

ikr? I was thinking how they would not have been secure if the plane crashed only to find out that one of the planes in the operation did crash.

what?!

Most of the babies taken to the United States by “Operation Babylift” were not orphans in the first place; they were children from refugee camps who were fraudulently designated as orphans by American relief workers — most of them with religious affiliations — who believed they’d be “better off” being raised by white Americans.

Operation Reunite is an amazing nonprofit run by Babylift victims which seeks to use DNA testing to find and reconnect with their real families back home in Vietnam.

medievalpoc:

CONTEMPORARY ART WEEK AT MEDIEVALPOC

You asked for it, you got it! Starting this Monday (4/14/14), Medievalpoc will be featuring Contemporary Art and Artists of color influenced by European Art History. Medieval, Renaissance, Baroque, Rococo, Mannerist, Classical, Ancient, Fantasy, Early Modern, you name it, it’ll be here! Everything from oil on canvas to performance art.

Also featured will be topical essays exploring our ideas about anachronisms, cultural exchange and appropriation, the use of particular palettes to invoke associations with historical works, Fantasy and Fan Art, character design, RPGs, Art and Identity, and the policing of self-expression in popular culture.

Follow. Ask. Submit.

Artists featured in this post*: Yin Xin, Leo and Diane Dillon, Terrance Houle, charcoalfeather, Toyin Odutola, Kehinde Wiley, Jamea Richmond-Edwards, hauntedmomsanon, Ikenaga Yasenuri, and S. Ross Browne.


*If you see your art here and would like it removed for any reason, message me and I will remove it ASAP.

carlosofthecosmos:

one of these days, the world will understand.
everyone will know me & my space that i will create around brown radical femme boys. we are important, protected & not to be fucked with (without permission ~)

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frank-e-shadow-tongue:

hiphopclassicks:

Raven Symone x Da Brat

screaming!!!!!!!!!!

luna-nix:

whoufflesoufflegirl:

the-treble:

willowpedia:

crazymolerat36:

ewitsmichelle:

not just followers, everyone.

same

I’m here if any of you need to talk<3

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The best part is, this post actually does something, it offers support, unlike one of those useless “reblog if you care” posts.

Exactly. Which is why I’ll reblog this one.

dynamicafrica:

There’s an incredible sense of both empowerment and vulnerability present in these black-and-white photographs, taken by Rotimi Fani-Kayode, that explores the complexities of sexuality and hypersexuality, eroticism, intimacy, agency - or lack of, tradition and race - all highly critical aspects that form part of the experiences of many black gay men.

With a short-lived career that spanned between 1982 and his death at the age of 34 in 1989, the Nigerian-born artist centered most of his work on the many factors in his life that spoke to the tensions in his life that resulted from his constant sense of otherness. Born in Lagos, Nigeria in 1955, Fani-Kayode was part of a prominent Yoruba family who eventually moved to Brighton, England in 1966 to escape a military coup in the country and the ensuing Biafra war. From the age of 12, Fani-Kayode would continually struggle with frictions caused by his layered and intersectional identities of being a black, African, gay man, something he would eventually convey and express through his art work.

“On three accounts I am an outsider: in matters of sexuality; in terms of geographical and cultural dislocation; and in the sense of not having become the sort of respectably married professional my parents might have hoped for.”

"My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms.”

September: Highlighting African Photographers