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Buzzfeed calls out Vanessa Hudgens’ Cochella headdress right before praising her for dressing like a “gypsy”. I am finding this to be the best kind of racist irony.

I can’t recall another period with such a wide-ranging mainstream presence as this Carefree Black Girl archetype. You may recognize it as Willow Smith rocking a pink Mohawk, Corinne Bailey Rae sauntering around Paris, Janelle Monáe serving android realness, and 100% of Solange Knowles’ life on Instagram.

I don’t know if any of these ladies would identify as such, but their influence is deeply felt and appreciated in CFBG spaces. They exhibit the qualities we all cherish to a wider audience that isn’t regularly exposed to the multitudes of black female creativity.

While the visual presence of Carefree Black Girls is exciting, some might wonder what would prompt such a hyper-specific expression. By putting the word “carefree” front and center, it’s making a statement that we don’t want to be solely defined by hardships and stereotypes so we can enjoy our lives as we please. Carefree should not be mistaken with careless. This particular audience is equally exposed to content exploring identity, culture, and history and its implications on them. There’s a clear reverence for the difficulties they might face but an equal focus on embracing the qualities that make them unique and beautiful. The idea also embodies not letting an outside gaze rule the way you express yourself.

Overall, I think Carefree Black Girl is a lovely and much-needed step in the right direction when it comes to exploring black identities. There may be concern that it lends itself to a passing trend or restrictive roles, but fear not. The absolute worst case scenario is that girls might start wearing floral headbands and feeling great about themselves. And, that sounds like a pretty magical prospect, if you ask me.

Who Exactly Is “The Carefree Black Girl”?

By Jamala Johns 

(via loveisthenewpunk)

(via ethiopienne)




"If I succeed I create the opportunity for more people to succeed…" — This

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The artistic cultural production and cultural theory that is Afrofuturism has long used the fantastical and Science Fiction elements of robotics and aliens, to solve the inequality of colonialism by transcending the social limitations of Black Diasporic life in Western society. Although appearing cosmically perfect,  it cannot be denied that Afrofuturism’s history is far from utopic: the trauma of the African transatlantic slave trade, W.E.B Du Bois’ emphatic theory of double-consciousness, Zora Neale Hurston’s iconic folklore depicting humor amidst trauma, Sun Ra’s militant blaxploitation music and imagery, Octavia Butler’s equivocal writings on outsider aesthetics, and lets not forget thesouthernplayalisticcadillacfunkymusic of OutKast. Resilient, AfroFuturists have owned, analyzed, deconstructed, and re-coded their joy and pain, and those of their ancestors, to re-imagine the African Diasporian future—free  from Western social stigmas.

For decades, Afrofuturism was publicly linked to literature and music; and yet recently, a courtship has begun with fine art. On November 14th The Studio Museum in Harlem took the helm and debuted its Afrofuturist exhibition, “The Shadows Took Shape.” We at Saint Heron are no strangers to Afrofuturism as emerging and Saint Heron featured artists, Kelela, BCKingdom, Sampha, have strains of Afrofuturist aesthetics coded within their work, so it was a pleasure to speak with the curators, Naima J. Smith and Zoe Whitley, on Afrofuturist activism, the theme of flight throughout African American history, and accidental Afrofuturists. Set amidst the backdrop of a sensitive and rich history, like a griot “The Shadows Took Shape exhibition and the Saint Heron interview navigates through rough terrain to tell an ever-evolving  story of a new Black frontier.


Photo: Robert Pruitt, “Untitled 3″

(via poc-creators)


[Gifset: Laverne Cox speaks at the GLAAD media awards, she says,

"Each and every one of us has the capacity to be an oppressor. I want to encourage each and every one of us to interrogate how we might be an oppressor, and how we might be able to become liberators for ourselves and each other."]



(via ethiopienne)

White Luke Cage [Hollywood film casting satire w/ a Racialicious.com shout out]


Flawless Human Beings » Gina Torres » Gina Torres Alphabet

↳ F → feminism & representation
"I certainly came up in an era where women were really making strides and making a point to beat down doors and find their place, and crash through the glass ceiling. And a lot of them did that believing that they had to trade on their femininity and that they had to be a man and tap into whatever they believed was a masculine trait to hang in the boys’ room, to get the "keys to the kingdom" as it were. And what’s beautiful about Jessica Pearson is that she is the next level to that when, really, feminism is about being all that you are and not having to trade one thing for another on your way up, or apologize." - Gina Torres (about her character Jessica Pearson, on Suits)

(via one-offs-from-slb79)


Jordan Davis would have turned 19 this year.

The black teen was killed in 2012 while sitting in a car with his friends outside a Jacksonville, Florida convenience store, listening to music.

That music was too loud for Michael Dunn. Following an argument over the volume, the 45-year-old man fired his gun into the car full of teenagers, killing Davis. Dunn told his fiancee the teens were playing “thug music.”

On the eve of Davis’ birthday, a mistrial was declared on the first-degree murder charge. The jury found Dunn guilty of attempted second-degree murder and a count of firing into an occupied car.

While people struggled to make sense of the verdict, Jamie Nesbitt Golden kicked off the #dangerousblackkids hashtag on Twitter, with participants questioning a society where unarmed black kids are often interpreted as threats.

(via fyeahlilbit3point0)


"So, er, for the non South Asians in the audience who perhaps didn’t understand why there was applause, the British built a really extensive railway system throughout India before they left, and it wasn’t so much for transportation for the Indian people, it was because it’s really hard to plunder on foot."

Hari Kondabolu’s joke about the British colonisation of India [x]

(via glockgal)