One Black Man

Just living this life Black in America.

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Reblogged from 5centsapound

5centsapound:

Hank Willis Thomas: History Doesn’t Laugh (2014, South Africa)

Conceptual artist Hank Willis Thomas uses photography to explore issues of identity, history, race, and class. For this series,  photo-derived sculptures have been cast in aluminum, silicone and bronze to reframe the original historical image by focusing on the impact of hand gestures. 

read an interview with the artist via okayafrica

1-2. Raise Up

3. Victory is Certain

4. History Doesn’t Laugh

5. Die Dompas Moet Brand ! (The Passbook must Burn!)

6. Peace and  Freedom

7. An injury to one is and an injury to all, 

8 - 9. A Luta Continua

(via boygeorgemichaelbluth)

Reblogged from andrewbokassa
andrewbokassa:

#africa #ghana #accra #art #painting (at Airport Residential Area)

andrewbokassa:

#africa #ghana #accra #art #painting (at Airport Residential Area)

(via everything-ghana)

Reblogged from wocinsolidarity
Reblogged from nprfreshair
nprfreshair:

In June 1970, Miles Davis played four nights at New York’s rock palace Fillmore East—following earlier appearances that year, there and at San Francisco’s Fillmore West. Four sets of that June music are now out in full for the first time. Jazz Critic Kevin Whitehead says, the jazz trumpeter had gone to the Fillmore in search of a new audience: 

It messed jazz people up, the music Miles Davis made in 1970, like the four sets recorded that June now issued complete on “Miles at the Fillmore.” Two years earlier he’d been leading one of the most beloved jazz bands ever—the one with Wayne Shorter and Herbie Hancock. Then he went electric. Instead of playing jazz clubs, now he was playing tokids who came out to hear the rock bands he split bills with. As one of those rock kids who saw Miles at the Fillmore in 1970, I gotta admit, the music was too weird for me. But later I could not stop thinking about it.

nprfreshair:

In June 1970, Miles Davis played four nights at New York’s rock palace Fillmore East—following earlier appearances that year, there and at San Francisco’s Fillmore West. Four sets of that June music are now out in full for the first time. Jazz Critic Kevin Whitehead says, the jazz trumpeter had gone to the Fillmore in search of a new audience: 

It messed jazz people up, the music Miles Davis made in 1970, like the four sets recorded that June now issued complete on “Miles at the Fillmore.” Two years earlier he’d been leading one of the most beloved jazz bands ever—the one with Wayne Shorter and Herbie Hancock. Then he went electric. Instead of playing jazz clubs, now he was playing tokids who came out to hear the rock bands he split bills with. As one of those rock kids who saw Miles at the Fillmore in 1970, I gotta admit, the music was too weird for me. But later I could not stop thinking about it.

(via talented10th)

Reblogged from classicethnichistoricalvibez
classicethnichistoricalvibez:

"The people of South Africa have resisted European control since the Dutch and British began invading in the 17th century. In some parts of South Africa, they fought European control until the end of the 19th century. In spite of colonial efforts, Zululand remained free until 1880. In 1879 in a strong show of resistance, a Zulu army under the leadership of King Cetshwayo at Isandhlawana defeated a force of 8,000 European soldiers, killing 1,600. This was the single greatest defeat suffered by the British in all their colonial endeavors in Africa and Asia.”Source: exploringafrica.matrix.msu.edu

classicethnichistoricalvibez:

"The people of South Africa have resisted European control since the Dutch and British began invading in the 17th century. In some parts of South Africa, they fought European control until the end of the 19th century. In spite of colonial efforts, Zululand remained free until 1880. In 1879 in a strong show of resistance, a Zulu army under the leadership of King Cetshwayo at Isandhlawana defeated a force of 8,000 European soldiers, killing 1,600. This was the single greatest defeat suffered by the British in all their colonial endeavors in Africa and Asia.”

Source: exploringafrica.matrix.msu.edu

(via ourafrica)

Reblogged from udochukwu

swallowingswordsoffire:

udochukwu:

Niké Art Gallery, Lagos.

(Various Artists)

Beautiful artwork.

(via ourafrica)

Reblogged from blackpoemusic
blackpoemusic:

I am not a metaphor or symbol.This you hear is not the wind in the trees.Nor a cat being maimed in the street.I am being maimed in the streetIt is I who weep, laugh, feel pain or joy.Speak this because I exist.This is my voiceThese words are my words, my mouthSpeaks them, my hand writes.I am a poet.It is my fist you hear beatingAgainst your ear.
The distant drum by Calvin Hernton

blackpoemusic:

I am not a metaphor or symbol.
This you hear is not the wind in the trees.
Nor a cat being maimed in the street.
I am being maimed in the street
It is I who weep, laugh, feel pain or joy.
Speak this because I exist.
This is my voice
These words are my words, my mouth
Speaks them, my hand writes.
I am a poet.
It is my fist you hear beating
Against your ear.

The distant drum by Calvin Hernton

Reblogged from neoafrican

boygeorgemichaelbluth:

neoafrican:

Patti LaBelle - If Only You Knew 

sang it!

Reblogged from weed-speed-and-cigarettes
Reblogged from fuckyeahmarxismleninism
fuckyeahmarxismleninism:

Graphic by Matthew Smith

fuckyeahmarxismleninism:

Graphic by Matthew Smith

(via blackmanonthemoon)