In many situations:

complicated-at-best:

The best you can do is the right thing,
the second best you can do is the wrong thing
& the worst you can do is nothing.

  • 11 months ago
  • 11

negrodocumentary:

Negro: ‘Pelo Malo’

The implications and dynamics of ‘pelo malo’ or bad hair and good hair are examined by women and men from all over the Americas and Africa. What do these terms mean? How are they interpreted and ultimately what attitudes do they reflect? 

(Source: youtube.com)

  • 11 months ago
  • 243

Fulfilling that dream by any means necessary. 

I applaud the hustler in you. 

  • 11 months ago

Fallback and Relax: femalerappers: It was reported yesterday that Ms. Lauryn Hill has been...

femalerappers:

It was reported yesterday that Ms. Lauryn Hill has been charged with three counts of misdemeanor failure to file taxes.  These charges were incurred for the years of 2005-2007, during a time in which Ms. Hill had removed herself and her family from society, in order to keep them safe, healthy, and free from danger.  In response to these charges, Ms. Hill has issued the following statement:

“For the past several years, I have remained what others would consider underground.  I did this in order to build a community of people, like-minded in their desire for freedom and the right to pursue their goals and lives without being manipulated and controlled by a media protected military industrial complex with a completely different agenda.  Having put the lives and needs of other people before my own for multiple years, and having made hundreds of millions of dollars for certain institutions, under complex and sometimes severe circumstances, I began to require growth and more equitable treatment, but was met with resistance.  I entered into my craft full of optimism (which I still possess), but immediately saw the suppressive force with which the system attempts to maintain it’s control over a given paradigm.  I’ve seen people promote addiction, use sabotage, black listing, media bullying and any other coercion technique they could, to prevent artists from knowing their true value, or exercising their full power.  These devices of control, no matter how well intentioned (or not), can have a devastating outcome on the lives of people, especially creative types who must grow and exist within a certain environment and according to a certain pace, in order to live and create optimally.

I kept my life relatively simple, even after huge successes, but it became increasingly obvious that certain indulgences and privileges were expected to come at the expense of my free soul, free mind, and therefore my health and integrity.  So I left a more mainstream and public life, in order to wean both myself, and my family, away from a lifestyle that required distortion and compromise as a means for maintaining it.  During this critical healing time, there were very few people accessible to me who had not already been seduced or affected by this machine, and therefore who could be trusted to not try and influence or coerce me back into a dynamic of compromise. Individual growth was expected to take place unnaturally, or stagnated outright, subject to marketing and politics.  Addressing critical issues like pop culture cannibalism or its manipulation of the young at the expense of everything, was frowned upon and discouraged by limiting funding, or denying it outright.  When one has a prolific creative output like I did/do, and is then forced to stop, the effects can be dangerous both emotionally and psychologically, both for the artist and those in need of that resource.  It was critically important that I find a suitable pathway within which to exist, without being distorted or economically strong-armed.

During this period of crisis, much was said about me, both slanted and inaccurate, by those who had become dependent on my creative force, yet unwilling to fully acknowledge the importance of my contribution, nor compensate me equitably for it.  This was done in an effort to smear my public image, in order to directly affect my ability to earn independently of this system.  It took a long time to locate and nurture a community of people strong enough to resist the incredibly unhealthy tide, and more importantly see through it.  If I had not been able to make contact with, and establish this community, my life, safety and freedom, would have been directly affected as well as the lives, safety and freedom of my family.  Failure to create a non toxic, non exploitative environment was not an option.

As my potential to work, and therefore earn freely, was being threatened, I did whatever needed to be done in order to insulate my family from the climate of hostility, false entitlement, manipulation, racial prejudice, sexism and ageism that I was surrounded by.  This was absolutely critical while trying to find and establish a new and very necessary community of healthy people, and also heal and detoxify myself and my family while raising my young children.

There were no exotic trips, no fleet of cars, just an all out war for safety, integrity, wholeness and health, without mistreatment denial, and/or exploitation.  In order to liberate myself from those who found it ok to oppose my wholeness, free speech and integral growth by inflicting different forms of punitive action against it, I used my resources to sustain our safety and survival until I was able to restore my ability to earn outside of it!

When artists experience danger and crisis under the effects of this kind of insidious manipulation, everyone easily accepts that there was something either dysfunctional or defective with the artist, rather than look at, and fully examine, the system and its means and policies of exploiting/’doing business’.  Not only is this unrealistic, it is very dark in its motivation, conveniently targeting the object of their hero worship by removing any evidence that they ‘needed’ or celebrated this very same resource just years, months or moments before.  Since those who believe they need a hero/celebrity outnumber the actual heroes/celebrities, people feel safe and comfortably justified in numbers, committing egregious crimes in the name of the greater social ego.  Ironically diminishing their own true hero-celebrity nature in the process.

It was this schism and the hypocrisy, violence and social cannibalism it enabled, that I wanted and needed to be freed from, not from art or music, but the suppression/repression and reduction of that art and music to a bottom line alone, without regard for anything else.  Over-commercialization and its resulting restrictions and limitations can be very damaging and distorting to the inherent nature of the individual.  I Love making art, I Love making music, these are as natural and necessary for me almost as breathing or talking.  To be denied the right to pursue it according to my ability, as well as be properly acknowledged and compensated for it, in an attempt to control, is manipulation directed at my most basic rights!  These forms of expression, along with others, effectively comprise my free speech!  Defending, preserving, and protecting these rights are critically important, especially in a paradigm where veiled racism, sexism, ageism, nepotism, and deliberate economic control are still blatant realities!!!

Learning from the past, insulating friends and family from the influence of external manipulation and corruption, is far more important to me than being misunderstood for a season!  I did not deliberately abandon my fans, nor did I deliberately abandon any responsibilities, but I did however put my safety, health and freedom and the freedom, safety and health of my family first over all other material concerns!  I also embraced my right to resist a system intentionally opposing my right to whole and integral survival.

I conveyed all of this when questioned as to why I did not file taxes during this time period.  Obviously, the danger I faced was not accepted as reasonable grounds for deferring my tax payments, as authorities, who despite being told all of this, still chose to pursue action against me, as opposed to finding an alternative solution.

My intention has always been to get this situation rectified.  When I was working consistently without being affected by the interferences mentioned above, I filed and paid my taxes.  This only stopped when it was necessary to withdraw from society, in order to guarantee the safety and well-being of myself and my family.

As this, and other areas of issue are resolved and set straight, I am able to get back to doing what I should be doing, the way it should be done.  This is part of that process.  To those supporters who were told that I abandoned them, that is untrue.  I abandoned greed, corruption, and compromise, never you, and never the artistic gifts and abilities that sustained me.”

(Source: mslaurynhill)

  • 11 months ago
  • 2041
tearsnsighs:

Ballet in Rwanda

tearsnsighs:

Ballet in Rwanda

  • 11 months ago
  • 47886

Did Beyonce copy her Billboard performance from an Italian pop artist?

On Monday, when we were recapping the Billboard Music Awards, I put up the video of Beyonce’s tribute, as well as her performance of her new single “Run the World (Girls)”. While I’m still not a fan of the song, I thought the performance was pretty decent (my problem was that the people paying tribute to Beyonce made her sound like Nelson Mandela, which she’s not). Anyway, soon after Beyonce’s performance, some people were like “Hey, that junk looks kind of familiar.” It turns out that Beyonce kind of hijacked (“stole”) the concept of the of the performance – SOME say – from an Italian pop artist named Lorella Cuccarini. For reference, here is Beyonce’sBillboard performance:

They are similar. Similar in visual concept, similar in approach, and they give the same vibe. But I wouldn’t call it an outright copy or theft. Except for the wing thing. The wing parts on both videos – yeah, Bey jacked that.

Anyway, AOL Music got an exclusive quote from Bey about the accusations that she’s unoriginal. Beyonce cops to knowing who Lorella is, and being familiar with the 2010 performance:

When Beyonce took to the stage at the 2011BillboardMusic Awards this past Sunday (May 22), she gave what was, quite possibly, the performance of her lifetime. It certainly ranks up there among the most memorable in the award show’s history. Honored with theBillboardMillennium Award, Beyonce performed her current single, ‘Run the World (Girls)’ while dancing and interacting with high-tech video projections synced behind her.

Indeed, the word “epic” comes to mind, as it was a dazzling marriage of choreography and technology, the likes of which have rarely been seen on live television. However, some have argued that the word “groundbreaking” might be misleading — Beyonce’s performance may have been unique in its execution, but the basic idea actually came from a performance by Italian pop singer Lorella Cuccerini in 2010. The visuals, dancing and even sequencing are remarkably similar at points. That’s no coincidence, nor is it a rip-off. Rather, Beyonce acknowledges the direct influence.

“My makeup artist showed me the performance of Lorella Cuccarini a year ago, and it inspired me so much,” Beyonce tells AOL Music, exclusively. “I then met with the talented people whoworkedon it. The technology and concept were so genius. Thank god for YouTube or I would have never been exposed to something so inspiring. I neverworkedso hard on anything in my life as that performance for theBillboardAwards.”

Naturally, YouTube is now flooded with side-by-side comparisons of the two performances and, yes, it is fascinating to see howideascan evolve from one creative entity to the next. But whereas critics are quick to point out influences, musicians are more prone to identify them as inspiration. In turn, Beyonce’s performance will now, no doubt, “influence” other artists at future award shows. For proof, check back next year. And that, of course, is exactly why Beyonce is aBillboardMillennium Award recipient.

  • 11 months ago
bessiemichelle:

Gettin’ it gettin’ it for the Lord. CCCCCHHHHOOOORRRREEEOOOO TIME!

bessiemichelle:

Gettin’ it gettin’ it for the Lord. CCCCCHHHHOOOORRRREEEOOOO TIME!

  • 11 months ago
  • 7

angrybrownpeople:

Yasiin Bey (Mos Def) Reads Malcolm X (Subtitled in Spanish)

Mos Def lee un discurso de Malcolm X (Subtitulado en Español)

“Look at the American Revolution, in 1776. That revolution was for what? For land. Why did they want land? Independence. How was it carried out? Bloodshed. Number one, it was based on land, the basis of independence, and the only way they could get it, was bloodshed. The French Revolution, what was it based on — the landless against the landlord. What was it for? Land! How did they get it? Bloodshed! There was no love lost, was no compromise, was no negotiation. I’m telling you you don’t know what a revolution is, because when you find out you’ll get back in the alley, you’ll get out of the way. The Russian Revolution. What was it based on? Land — the landless against the landlord. How did they bring it about? Bloodshed. You haven’t got a revolution that doesn’t involve bloodshed, and you’re afraid to bleed. [Commotion]

I said you are afraid to bleed.

As long as the white man sent you to Korea, you bled. He sent you to Germany, you bled. He sent you to the South Pacific to fight the Japanese, you bled. You bleed for white people, but when it comes time to seeing your own churches being bombed, and little black girls [Speak on!] murdered, you haven’t got no blood.”

(Source: )

  • 11 months ago
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