How Black women dominated Disco Era (1970s)
BUT WHERE IS THE GIF OF RALEIGH AND PENTECOST FROM PACRIM????
I will reblog this until the day I DIE š¤£ donāt EVER put your hands on me BOI šš¾
Story of my life! Stop touching me!!!!
The Lemba tribe of South Africa are a Bantu speaking black African people who claim to have Jewish ancestry. They have many Semitic traditions such as circumcising their sons and kosher-like dietary restrictions. Turns out, DNA evidence from tribe members show that these traditions were brought there from the Middle East thousands of years ago. Many members of the Lemba tribe truly do share DNA with Jews and hold a particular Y chromosomal type that appears to be a signature of Jewish ancestry. šæš¼ The Lemba consider themselves Jewish by culture and DNA, but not religion. Most are Christians and speak local South African languages native to Zimbabwe and surrounding regions where Lemba clans live. š®š± āWe tried to tell everyone about us, but people wouldnāt believe it. But now that hard science has proved it, we are now happy that what we have been telling them has come to be the truth,ā said Hamandishe, a member of Zimbabweās parliament who has visited Israel. šæš¼ The Lemba are the only tribe who claim to have Israelite origins whoāve actually got any genetic proof. There is very strong DNA evidence that they came from the eastern Mediterranean. š®š± Sources: PBS āThe Lemba, The Black Jews of Southern Africaā & Haaretz.com āUnlike Many āLost Tribes,ā Zimbabwe Clan Has Science on Its Sideā šæš¼
Walter Williams Interview Real History Of Christianity part 1 Malcolm Maynes 1,712 views
Published on Oct 22, 2013 I have re posted this interview of Walter Williams by Clemson Brown, as i believe his research is of vital importance to the so called African American, African West Indian, Indigenous Australian and also the European and world. You will need to watch this video several times for the information to really start to sink in. This is one of not many Walter Williams videos to be found on youtube, but for me this is the classicā¦.enjoy!
More than 3,300 years ago, in a newly built city in Egypt, a woman with an incredibly elaborate hairstyle of lengthy hair extensions was laid to rest.
She was not mummified, her body simply being wrapped in a mat. When archaeologists uncovered her remains they found she wore āa very complex coiffure with approximately 70 extensions fastened in different layers and heights on the head,ā writes Jolanda Bos, an archaeologist working on the Amarna Project, in an article recently published in the Journal of Egyptian Archaeology.
Researchers donāt know her name, age or occupation, but she is one of hundreds of people, including many others whose hairstyles are still intact, who were buried in a cemetery near an ancient city now called Amarna.
She had a weave B.C. Well maintained after all these years. Iām very impressed.
Reblogging for this comment ^
Tāchalla, Erik Killmonger, and Luke Cage: The African Diaspora.
Ā Tāchalla, Erik and Luke Cage, as characters, men, and representatives for their communities, represent such a wide breadth of the African Diaspora, and itās really cool to see how thatās affected their characters, their worldviews, and their philosophies. But itās also interesting to see the parallels that these three men, whoāre each within varying stages of Diaspora, have.Ā Ā
Now, Iām no expert on African Diaspora, and thereās a lot that Iām still learning, but Iāve had these thoughts in my head since I left the theater after seeing Black Panther.Ā Ā
*Spoilers for Black Panther underneath*
Tāchalla is a man who grew up on the African continent (Wakanda) so heās never had to deal with any kind of diaspora. Whatever media he consumed (and I would assume Wakanda would have its own source of media and entertainment) was steeped in Wakandan tradition/culture/language. He never had to feel out of place in his own home country. And true, being heir to the throne of Wakanda probably warped his own sense of what Wakanda was, and gave him a more rosey-outlook on his home country, but for the most part, no one in Wakanda gave him any kind of grief for speaking Xhosa, or for having the nameĀ āTāchallaā because he wasĀ āHome.ā Tāchalla practicing his own cultural traditions was never looked down upon.Ā
Then we have Erik āKillmongerā Stevens, who, for all intents and purposes, is the son of an immigrant. Erik grew up with his fatherās stories of Wakanda. His father, NāJobu gave his son everything he needed to be Wakandan. Despite Erik being born in America, NāJobu wanted his son to have some connection to his heritage. from teaching him the language, to even giving his son a Wakandan name (NāJadaka). And yet, despite being Wakandan (of both Wakandan and royal blood) Erik is still seen as an outsider to both Wakandans (due to his American upbringing) and Americans (due to his skin color). Through the film, Erik cites the atrocities against Black people throughout the diaspora had suffered as the cause of his crusade. Erik is a man who grew up with fairy tales of another world that he should, by all rights, be able to take part in, but canāt. Erik is the product of two worlds and not being able to take part in either one leaves him frustrated and angry. Even at the end of Black Panther, at the time of his death, Erik saysĀ āBury me in the ocean where my ancestors jumped from ships because they knew death was better than bondage.ā He associates himself, his family and his heritage, with those who could not be consideredĀ āAfricanā but also refused to assimilate. Erik exists as something in between these two identities.Ā
Luke CageĀ Ā Ā Ā
Now, unlike the two previous men, Luke Cage isnāt the son of an immigrant, and he never grew up in an African society. He is the descendant of American slaves, and in so doing he is so far removed from any kind of āTraditional Africanā culture that he probably doesnāt even realize it. African-Americans (or Black Americans whoāre descended from slaves) grew up with no knowledge of their cultural roots, and any kind of tradition that was past down to us was done in a way that was hidden or weaved into a Eurocentric package. African Americans, for the most part, had to start from the ground up and create an new culture. And Luke Cage is aware of this. He has an extensive knowledge of African American history, and a deep pride in the advancements and achievements that African Americans have made. From music, to language (African American Vernacular English) to fashion, and politics. Luke carries all of those aspects of being African American with him, into every conflict and every challenge he faces. Unlike Erik, Luke never grew up with stories of Africa because heās too far removed from that land (but not so far removed from it that he doesnāt still deal with antiblackness/mass incarceration/biases in law enforcement that Erik cited.Ā
The past as the present
A people without the knowledge of their past history, origin and culture is like a tree without roots.
Ā Ā -Marcus Garvey
Carter G Woodson wrote The Miseducation of the Negro, and is the man behind Negro History Week which would later become Black History Month. Woodson noted that American schools systems not only taught history through the lens of white superirity, it also made it seem as if Africa as a continent was devoid of any kind of history or culture.Ā Black History Month was created so that African American children could learn that their fore bearers made large contributions to the United States, and to the world at large. Speaking from a personal standpoint, in the schools I attended, we never learned about the continent of Africa (not its history, religion, or mythology). Furthermore, American schools never teach about any other Black people across the diaspora. We donāt learn about the Haitian revolution, or the history of Afro-Brazilians, or the contributions of Black people to European art and literature, such as Alexander Dumas or Leopold Sedar Senghor. And the United Statesā educational system runs with the narrative that for Black people life started in slavery, and ended with the civil rights movement. Luke Cage, being a man who grew up in America with no strong connection to his African roots outside of his African American heritage and upbringing, only really had African American history to hold onto when it came to searching for and understanding his identity. You can see within Marvelās Luke Cage, how he calls attention famous African American figures (such as Jackie Robinson) how he reads great Black American authors such as Walter Mosely, and Donald Goines, and Nikki Giovanni. The music he listens to, Wu Tang, and Method Man, are all artifacts of the African American experience, and proof of their strength. When Luke Cage was imprisoned in Seagate and offered the position of gladiator and better treatment, he responds with:
āSlavery was always a good deal for the master.ā Luke invokes a specific instance in his own history as a Black American to fortify himself against temptation.Ā
Ā This isnāt just limited to Luke Cage, all the major players in Marvelās Luke Cage draw reference to Harlemās great leaders, musicians and politicians as a way to chart a course for the future.Ā From Cottonmouth to Mariah Dillard to Misty Knight and Henry āPopā Hunter.
Now, Erik Killmonger, having gone through the same educational systems as Luke would probably not only recognize how limited the western world views African history and culture, but also realize how hypocritical those history lessons are.Ā
Take for example Killmongerās reaction to being in the museum, looking at all of those artifacts. He not only chastises theĀ āexpertā on how white people obtained those treasures (āHow you think yaāll got them in the first place? Did you pay a fair price for them?ā) But he also reclaims them for himself, and uses them for his own purposes and empowerment. He takes that antelope mask (because heāsĀ āfeelinā itā) and wears it for his next heist.Ā
Or how he scars his body to commemorate each kill heās done which is an ancient African tradition called Scarification. And couple that with his knowledge of the Diaspora across the world (from how he cites atrocities and how Black revolutions never had the fire power enact real change). He uses both his knowledge of the African Diaspora, his training as an American, and his reclamation of African traditions as a means of gaining power and agency for himself. In these instances, Erik Killmonger acts as a bridge between two worlds.Ā
The World Where the Ancestors Rest
Ā In the film Get Out, one of the title songs, āSikiliza Kwa Wahengaā which Ā is Swahili for āListen to the Ancestorsā, What makes this song so jarring is that the singers are constantly trying to warn the listener (and Chris, the main character of Get Out) to run away to safety. They are trying to warn Chris in a language that he doesnāt understand because he is so far removed from that aspect of his culture. Feeling disconnected from your cultural roots is another part of diaspora. Chris canāt understand the danger heās in because he canāt āListen to the Ancestorsā.
However, Tāchalla, Erik and Luke subvert this in their respective journeys. Ā They ālisten to the ancestors,ā albeit in their own ways. They find wisdom in the past, and each man gains a different solution depending on who they invoke. Ā Each man calls up, and takes wisdom from a different āAncestorsā that represents his own respective place within the diaspora.
Tāchalla connects with all the great leaders of the Panther clan, the kings of old, the ones who never had to question their identities or change themselves in order to assimilate. Erik claims those who jumped from slave ships and chose death over compromising their own identities. And Luke connects with the many African American trailblazers who created a new identity in spite of their countryās racial animosity.
Ā When Tāchalla visits the ancestral plane for the first time, he is greeted by a beautiful purple sky and his fatherās prideful smile. There is majesty in this space. A space when Kings come to gather. Itās not just the people Tāchalla calls on that is important, but the place where the exchange takes place.Ā
Erik Killmonger (who is of the royal line as well) however is greeted with a different scene. Instead of being surrounded by Savannah, hisĀ āancestralā plane consists of his childhood home, a rundown apartment in the poor neighborhood of Oakland California. While NāJobu did everything he could to teach his son about Wakanda,Ā and fill their living space with Wakanda/African art and culture, it was still a pale comparison to the real thing. In Erikās astral plane, both son and father are banished from home, and areĀ ālostā.Ā
Ā And while Luke Cage may not have ingested a heart-shaped herb, he too returns to the place of his ancestor. The church his grandfather founded, and the church his father ministered in. The venue for each man here is a reflection of where they are within their own diaspora. Tāchallaās is traditional. It knows what it is and where it is. Erikās is frustrated, rundown and exhausted, but still desperately clinging to its own culture. And Lukeās lacks any kind of majesty at all. It is without ceremony, or grand power, and is devoid of anyĀ āAfricanā aesthetic, but it still boasts a strong and proud history founded upon African-American fortitude. And much like Tāchallaās astral plane, Lukeās has a sense of identity and it knows who and what it is.
āWhen I Think of Homeā
-Dorothy, The Wiz
The place we live has the ability to shape us into the people we will become. Thereās a reason we sayĀ āHome is where the heart is.ā And the reason I used this quote from The Wiz is because the lyrics to the entire song are fitting to Tāchalla, Erik and Lukeās situations throughout their narratives. Tāchalla and Luke have learned to integrate themselves into their worlds. Luke has risen to become Harlemās hero, and Tāchalla is the crowned king (through both blood and right). Erikās situation, on the other hand, is very different. Erik acts as a man in betweenĀ āhomes.ā Both Black Panther and Luke Cage did a phenomenal job of building up both characterāsĀ āhomesā. And while Erikās home of Oakland California did not get the same world building as Lukeās Harlem or Tāchallaās Wakanda, its history, heritage, and influence is still evidenced through Erik and his actions.Ā Ā Ā
āWhat happens here determines what happens to the rest of the worldā
Wakanda has always had control of its own culture, its own destiny and its own identity.Ā It has a culture that it is keen on protecting, even if it means turning its back on the rest of the world. Erik even knows of this lands wonder through the stories his father told him as a boy. And Tāchalla is the culmination of being brought up in this world. He is wise, he is strong, but he never allows his pride to control his actions. He is thoughtful and is averse to taking life when it can be avoided. However, through his film, he does deal with a crisis of conscious. He questions where Wakanda stands on international affairs, and what its responsibility is to the rest of the world. Both Nakia and Erik bring up Wakandaās power, knowledge, and resources, and Tāchalla has to seriously consider what his role and his kingdomās role is to the rest of the world. And then you have isolationist like WāKabi who bring up the fear that Wakanda will lose its own identity and culture if it opens itself up to outside influence. Identity is an important part of Wakandaās philosophy, and itās clear that Wakandans pride themselves in holding onto who they are.
And later on in the movie, when he discovers his fatherās hand in Erik Killmongerās creation, Tāchalla experiences first hand the consequences of Wakanda turning its back on the rest of the world, and the rest of the diaspora. Erik Killmonger returns to Wakanda influenced by his upbringing in America, and actively destroys Wakandan culture (such as the heart shaped herb) and replaces Wakandan philosophies of peace and isolation with American philosophy of violence and destruction.Ā Ā Ā
Ā āCan you believe that? A kid from Oakland, running around believing in fairy tales.ā
Erik grew up in Oakland California in a run down neighborhood. One can infer that Erik and his father grew up in poverty, with gang violence running the streets. Oakland is also the place where The Black Panther Party was founded. A party that was concerned for the well-being of African American people and were responsible for radical movements that worked to benefit Black Americans, and protect them against exploitation by corrupt police. NāJobu was also of the mindset that Wakanda could do more to help Black people all across the diaspora, and he came to this conclusion while living in Oakland, and he passed this ideology onto his son, just like he passed on the stories of Wakanda. In this way, father and son become products of the two cultures they are a part of. Adopting the philosophies of the political party that also bore the namesake of their countryās royal family, of their family.Ā Erik was a kid during 1992, which means he probably saw the fallout of the Rodney King riots over in LA. A time where many Black Americans were dealing with the fall out of a bigoted, unfair policing system that exploited their lives and bodies with no consequence.Ā It wouldnāt be difficult to believe the chaos he witnessed during those times, and how it contrasted with the stories of a beautiful, wealthy Wakanda that his father told him of.Ā
Erik comes from fire, he joined the military and, as he admits in Black Panther, killed. He killed in Iraq, in Europe, in Africa, in America. He comes from a place that was forged from flame. And during his time as king, Erik brings that same flame to Wakanda. By burning the Heartshaped Herb, ensuring that there can be no other ruler to oppose him. By taking Wakandaās resources for his own agenda. He, through his own machinations, turns Wakanda into Oakland.Ā Through Killmongerās tenure as king, Wakanda undergoes an identity crisis where it doesnāt know what it wants to be. But is also through Erikās time as king that the voices of the Diaspora are heard, and Wakanda is forced to recon with its own complacency.
Ā ā[Harlem]ā¦is supposed to be a shining light to the world.ā
Harlem is the main setting for Luke Cage, and is where the bulletproof hero calls his home. Harlem is a historic neighborhood for African Americans, being the birth place of some of the greatest works of art, literature and identity for African Americans. All throughout his show, Luke Cage (and many other characters) cite the importance of Harlem, the history of Harlem, and the future of Harlem. And while Luke loves his home and works to protect it (much like Tāchalla does for Wakanda) Luke Cage (at least in his Netflix series) isnāt a Harlem native. His home down is in Savannah, Georgia right where his grandfather built the church, and where his father used to minister. Luke Cage moved to Harlem as a way to escape the law and find a better life. His journey has many parallels to the Great Migration, a time when many African Americans migrated from the racist, segregated south to the north in search of a better life for themselves and their families.Ā Like Erik, Luke has his heart and history in two different places. And like Tāchalla, Luke recognizes the importance of his homeās (of Harlemās) identity and what it means to the rest of the world.Ā Ā Ā
Perhaps Iāve rambled on a bit too much with this post, but I donāt think Iāve ever seen such a well defined look at the African Diaspora so broadly. Especially in such an internationally recognized cinematic universe.Ā
I really responded with how Luke Cage used and touched upon African American culture and history. And seeing Tāchalla and the whole nation of Wakanda opened a way of seeing the Diaspora that I never thought was possible. And Erik Killmonger works as the perfect median for both of these perspectives. While Luke Cage and Tāchalla have come to terms with their varying Diasporas, either though having it ripped away for generations (Luke Cage) or never having it taken in the first place (Tāchalla), Erik is still coming to grips with his, and his place within it.Ā
Ā Erik Killmonger, while struggling to come to terms with his cultural, and racial identity has, inadvertently, created a new one. Being Wakandan-American, which gives him a perspective that is unreachable to both Tāchalla and Luke, his place within the diaspora gives him access to the experience of creating to survive, holding onto what was old, while also forging something new in the process. Ā And with this in mind, its ironic that Erik claims his ancestors as the āones who jumped from the shipā those who are in the constant in between of two worlds. Those who never finished the journey through the middle passage and to America. In a way, there is strength to this identity, an uncompromising power that lives on, even in death.Ā Ā Ā Ā
However, each person goes on similar journeys throughout their respective narratives, and thereās a lot of crossover between their experiences. Whether it is leading their communities, gaining wisdom through a shared history, or simply learning to use the tools we have to make change. Tāchalla, Erik and Luke are each different sides of the same narrative pyramid, and it is such a wonderful treat to see them wrestle with their own ideas of how to navigate in a world where Blackness is often times looked down upon, or ignored.Ā I think it would be really cool if we could get other perspectives in the MCU on the African Diaspora (such as Eric Brooks/Blade who is British, or Jericho Drumm/Doctor Voodoo who is Haitian).Ā
Regardless, Iām glad that there are narratives that showcase both the difference and the parallels of the African Diaspora, and I hope these new programs can inspire people (of all Diasporas) to look at their roots.Ā Ā I know itās been an inspiration to me.
The decorative black male
Basically the era where being thicker than a midget was a crime just because Africans happen to be thick. Sarah (Saartije) Baartman was a Khoisan (South African) woman who performed under the name āHottentot Venusā in 19th century England and France. She is the original video vixen: discovered at home in South Africa during her late teens, she was offered money and fame in Europe as a singer and dancer. Little did she know that she would be exploited and put on display for everyone to gaze at her large butt, long clitoris/labia, small waist, big breast and kinky hairā all traits that are very common amongst Khoisan women. As her shows attracted more fans, she was forced against her will to have sex with men AND WOMEN who gave enough money to her exploiters. Sarah got none of the money, as she was once promised. After her act got old, she was forced into prostitution, where she died of stdās and alcoholism. The obsession with Saartije lasted after her death as well. For more than 100 years, visitors and āscientistā were able to examine her dissected body parts in Paris museums. The 19th century shapewear, the ābustleā was inspired by her in order to give european women her unique physique. Yes, an old school booty pop. On behalf of Nelson Mandelaās request, Paris returned Saartijeās remains to South Africa in 2002. Black men, itās time that you start respecting the black womanās body, because this act of objectifying it was taught to you. #sarahbaartman
Charles Woods (The Professor) - On Black & White Sex and āThe 3D Effectā in Movies Film historian and archivist CHARLES WOODS breaks down the history of Black and White sex in film and shares his theory of āThe 3D Effect,ā a series of tropes that are evident in the majority of films that portray interracial relationships in American and British films. Look for more clips from The Professor coming soon. A Reelblack Exclusive. Camera and Edit: Mike D.