I'M NOT PANICKING, I'M JUST VERY VERY CURIOUS

my name is senait. this tumblr used to be about comedy and delightful things on the internet but now it's mostly reblogged rage. if you have interesting things to say about the world's fuckedupedness, comedy, or Habeshas, i will probably want to follow you.
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sinidentidades:

Meet Arabic Hip-Hop’s First Lady: Shadia Mansour

Longtime journalist and hip-hop historian Davey D has a great series going in which he highlights 500 female emcees, and he recently featured the British-born Palestinian emcee Shadia Mansour.

Since launching a rap career around 2003, Mansour has gained fans in the Middle East, Europe and the United States with politically charged songs that take aim at the occupation of Palestine. She often performs in a traditional Palestinian thawb and, according to Hip-Hop and Politics, considers herself to be part of a “musical intifada.”

Mansour has collaborated with other well-known Palestinian hip-hop groups including DAM and has also worked with rapper M-1 of dead prez, who’s featured on her track “Al Kufiya Arabiya” (The Kufiya is Arab). From Hip-Hop and Politics: 

The song was written when Mansour discovered an American made blue-and-white colored Arab scarf with Stars of David on it. Mansour introduced her song on stage in New York: “You can take my falafel and hummus, but don’t fucking touch my keffiyeh”.

(via frantzfandom)

aadatart:

African Women Artists #16: Otobong Nkanga

Otobong Nkanga is a Nigerian artist who creates works based on extensive research in diverse media. Her drawings, installations, photographs, videos and sculptures examine ideas around land and the value connected to its resources.

She often utilises body and voice in order to articulate her own reactions to existing structures and their implications. She finds inspiration for this in observing social and topographic changes in her surroundings and the influences that arise from these. As a human trace that testifies of ways of living and environmental issues, architecture and landscape act as a sounding board for narration and “the performative”.

In many of her works Nkanga reflects metonymically on the use and cultural value of natural resources, exploring how meaning and function are relative within cultures and revealing different roles and histories for the same products, particularly within the context of the artist’s autobiography and memories. Biography via

This month, we’re highlighting African women artists who are pushing boundaries in the art scene. Follow the series as we highlight one African woman artist everyday this month.

Also featured: Wangechi MutuLalla EssaydiZanele MuholiAida Muluneh,Sokari Douglas Camp CBENathalie Mba BikoroMary SibandeGazbia SirryLynette Yiadom-BoakyeJane AlexanderJulie MehretuWura-Natasha OgunjiGhada Amer, Zoulikha Bouabdellah, Zina Saro-Wiwa

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(via guerrillamamamedicine)

beautone:

Queen Latifah Paper Magazine Cover (November 1991)

(via femalerappers)

africaisdonesuffering:

Women in Africa and the Diaspora: “Nervous Conditions”

This year I’ve filled my bookshelf with literary works by women writers, specifically African women. A woman… an African woman choosing to take her own pen and write her own story is revolutionary. A woman… an African woman challenging patriarchy and gender oppressions through her literary work is revolutionary.

Nervous Conditions by Tsitsi Dangarembga, is a great example of this revolutionary writing that I speak of.

Written in 1989, Nervous Conditions is a semi-autobiographical story about a young Shona woman, Tambu, growing up in late 1960s Rhodesia, now known as Zimbabwe. The book is largely set in a period after the Chimurenga (Zimbabwean war of independence) leading to the formation of a new independent government following years of civil war and white domination. (read more)

excellent book

transpotter:

stop making ancient egyptians white its 2014

(via thisiswhiteculture)

A white student may feel discomfort when it’s pointed out to him how he has benefited from structural racism, but to compare that discomfort to discrimination is a false equivalency. Hurt feelings hurt, but it is not oppression. But hurt feelings can be bad for business. And a lot of powerful people think colleges should act more like businesses. When they do, students act more like customers. And our likely customers might not be amicable to discussions about structural racism. If the customer is always right, then the majority share of customers is more right than the minority.

Minneapolis professor Shannon Gibney: Reprimanded for talking about racism. (via sociolab)

Capitalism, as a system of oppression, is dependent and interlinked with White Supremacy. We have to overthrow both systems if we want liberation.

(via stoicmeditations)

(via warcrimenancydrew)

phuckindope:

Greatness.

the 90s were a pretty good time

(via hip-hop-influence)

TLC was not just an amazingly talented group, they were a movement, a revolution in the 90’s having as much power as the “bra burning” days of the 1960’s. TLC’s lyrics empowered young women everywhere to be strong, confident, and accountable from image to safe sex.
  (x)

also their friendship was convincing. 

(via blackwomenworldhistory)

frantzfandom:

whisperingghosts:

agoatkid:

jackaldope:

strangebiology:

It’s ok buddy, you won.

Of course this occasionally happens; deer get their antlers locked in battle, and they can’t get them out. Sometimes they both die.

i’m still looking at this image and it’s so impressive to me

after this guy’s foe died (what do u think the interim was like) did he jsut drag around the carcass until the body fell off at the neck or what. did he go out of his way to behead it. whats the story here. i want to interview this deer

holy shit.

Imagine the rotting face of your enemy being permanently attached to your head.

jfc

i feel like maybe the punishment fits the crime here