In my experience of being professionally black I have found that if a dude rides around in a car other than his own with the seat let all the way out he is usually not one that you should trust


First Look: SpongeBob CGI Superhero Feature ‘Sponge Out of Water’

Sponge Out of Water begins in the traditional animation world, but midway through the film, switches to a CG world, where the main characters become an “Avengers-type team” who have to save Bikini Bottom from Antonio Banderas, who voices a pirate: SpongeBob transforms into the Invincibubble, Patrick Star is Mr. Superawesomeness, Squidward Tentacles becomes Sour Note and Mr. Krabs is Sir Pinch-A-Lot.

Booooo no Sandy

(Reblogged from wannabeanimator)






Wow.  I’ve never seen hair done that well, or a dress that amazing, in a long time.  Very impressive.  And the flowers in the background make it work even more.

added bonus, kick ass name meaning “precious gift”

(Reblogged from korraisnottan)








"Fuck You, Old People" — Group Piece at CUPSI 2014

"By the way, you can’t actually pick yourself up by your own bootstraps. That’s now how physics works."


this gives me life….

"Act your fucking age" god damn, this has a good message here.

39 seconds in and I reblogged it

Ahhhhh! So good so freakishly amazingly good.

I love it.

(Reblogged from taloness)
The depth of isolation in the ghetto is also evident in black speech patterns, which have evolved steadily away from Standard American English. Because of their intense social isolation, many ghetto residents have come to speak a language that is increasingly remote from that spoken by American whites. Black street speech, or more formally, Black English Vernacular, has its roots in the West Indian creole and Scots-Irish dialects of the eighteenth century. As linguists have shown, it is by no means a “degenerate,” or “illogical” version of Standard American English; rather, it constitutes a complex, rich, and expressive language in its own right, with a consistent grammar, pronunciation, and lexicon all its own.

Douglas Massey and Nancy A. Denton, Chapter 6: “The Perpetuation of the Underclass,” p. 162 (American apartheid: segregation and the making of the underclass)

As linguists have shown, it is by no means a “degenerate,” or “illogical” version of Standard American English; rather, it constitutes a complex, rich, and expressive language in its own right, with a consistent grammar, pronunciation, and lexicon all its own.

(via deux-zero-deux)

(Reblogged from knowledgeequalsblackpower)




VIDEO: Man Dies After 5 Police Jump Him — Chokehold Him For Selling Untaxed Cigarettes 

A Staten Island man died Thursday after police placed him in a chokehold as they attempted to arrest him for selling untaxed cigarettes.

According to authorities, Eric Garner, 43, went into cardiac arrest and died at Richmond University Medical Center following the arrest that was filmed by several witnesses.   

In the video, Eric can  be seen telling police that he had not been selling cigarettes, repeatedly saying, ” I didn’t sell anything,” before insisting, “I’m minding my own business, please leave me alone.”

After a standoff, five officers tackled the 400-pound asthmatic Ericwith one placing him in a chokehold – and wrestled him to the ground as they attempted to put handcuffs on him.

As Eric lay on the ground, with one officer pushing his head into the pavement, he can be heard saying, “I can’t breath. I can’t breath,” over and over.

As the video ends, Eric appears to be unconscious as police clear onlookers while waiting awaiting paramedics.

According to his family, Eric, a married father with six children and two grandchildren, suffered from asthma.

“When I kissed my husband this morning, I never thought it would be for the last time,” Eric’s wife, Esaw, told reporters.

Police stated that Eric has been arrested multiple times for selling untaxed cigarettes, and records show he was due in court in October on three charges, including pot possession and selling untaxed cigarettes.

Witnesses at the scene claim Eric was breaking up a fight when police arrived, with Eric’s family stating that he didn’t have any cigarettes on him or in his car at the time of his death.

“They’re covering their asses; he was breaking up a fight. They harassed and harassed my husband until they killed him,” Eric’s wife said.

Within hours after Eric’s arrest and death, residents in the area hung handwritten posters on telephone poles near the scene with phrases like “no justice, no peace” and “Another innocent black man has been killed by police brutality. The NYPD must be stopped!”



(Reblogged from lovethyhippie)



"My name is Michael Hunter. I was diagnosed with leukemia in June 2013 & was told on June 11, 2014 that I only have a few months left to live if I can’t find a donor. Please help me with my biological family or a donor match! I was born in Columbus, OH 3/1/1985 at Doctor’s North Hospital and given the name Christopher Brown. Please share"

Michael is a friend, I’m asking that you all take the time to share this. He desperately needs a bone marrow donor and there is very limited number of African American donors. Without a donor Michael is going to die.

Michael was adopted and does not know his birth family. We know he has a half brother but have no information about him.

He does not specifically need an African American Donor but because of all of the things that factor into finding a match (blood type, dna tissue etc.) , someone of similar descent is more likely to be a closer match.

If anyone knows anything about Michael’s birth family or if you would like to see if you are a match, please privately message me. I can put you in touch with him and his caregivers directly!

We hope through spreading awareness we can either find his birth family whom he does not know or find a donor match. Michael lives in the Cincinnati, OH area. Please dont just like this or scroll past. Please share this! You could save his life!

BOOST. Its so hard for Black people to find donors.

(Reblogged from nudiemuse)


The Banjo’s African American Heritage

Since Caribbean Blacks created the banjo in the 17th century and carried it to North America in the 18th century, the banjo has been part of African American heritage. An African New World combination of European and African elements, early banjos resembled plucked full spike folk lutes like the akonting of Gambia, Senegal, and Guinea-Bissau and the bunchundo of Gambia and Guinea-Bissau. Like these instruments, early banjos had gourd or calabash bodies covered by a skin membrane and wood bridges held by string tension. Most early banjos had four gut or fiber strings, often three long and one short drone string, though some had two long strings and one short string. Banjos’ flat fingerboards and tuning pegs, not found on indigenous West African instruments, came from European instruments.

First reported in Jamaica in 1687 and in Martinique in 1698, until the 19th century the banjo was identified exclusively with Black people. Banjos rang in Barbados, Antigua, St. Kitts, St. Croix, Suriname, and Haiti in the 1700s and early 1800s. First reported in North America in Manhattan in 1736, by the early 1800s, Black folk played banjos from New England to Louisiana. The Old Plantation, painted before 1790 by South Carolina planter John Rose, depicts a Black banjoist and a Black drummer playing for Black dancers. By the 1830s, white entertainers wearing black face makeup and singing what they called Black songs adopted the banjo. Known as “minstrels” by the 1840s, they became widely popular, touring the United States, Britain, Ireland, Australia, and New Zealand. Though they reflected American racism, their music and dance launched worldwide interest in Black music and the banjo.

By the 1840s five-string banjos with four long strings and one short string one short string, the highest in pitch, but set next to the lowest pitched long string, had developed. Wood frame rims to stretch the skin replaced the gourds. A commercial banjo industry appeared linking entertainers, sellers of banjo music, and manufacturers. By the late 19th century metal covered or replaced the wooden frame rims entirely, frets were added, metal strings replaced gut, and a variety of mechanisms were added to banjos to produce a loud, clear, treble sound. Black banjoists adopted these innovations to make even more powerful music. Black dances powered by banjo persisted into the twentieth century. Though Black banjoists, white show business banjoists, parlor banjoists, and white Southern folk banjoists exchanged tunes and techniques, the drive of Black banjoists to play for African American dancers preserved Black banjo’s distinctive West African musical approaches.

After the Civil War, Black minstrel companies offered real African American music, not pale imitations, eclipsing the white minstrels’ popularity by 1900. African American banjo syncopation helped inspire ragtime, a combination of folk, popular, and art music born in the Black Midwest that became internationally popular in the 1890s and 1900s. Scott Joplin, the great ragtime composer, dedicated compositions to Black banjoists. More ragtime banjo records than piano records appeared in the early 1900s. As banjo playing became a vital part of turn of the century popular music, Black Banjoists like Horace Weston, the Bohee Brothers, Hosea Eason, and James Bland became international stars. Black banjo playing probably reached its height before World War I. Black banjoists swung old time dances and starred in shows from London to Broadway.

Middle class African Americans formed banjo, mandolin, and guitar clubs. The most prominent, Washington’s Aeolians, played for thousands while Black newspapers across the country covered their concerts as society news. Black bandleader James Reese Europe, New York’s foremost bandleader who bridged ragtime and jazz, led a band that featured six banjoists among only ten musicians and formed concert orchestras with scores of banjos. New banjos without drone strings and played with flat picks arose in the 20th Century: tenor banjos, tuned like violas, six-string guitar banjos, mandolin banjos, and plectrum banjos, modeled on the five string banjo without the fifth string. The jazz banjoists that played them included musicians like Elmer Snowden, Zach White, Johnny St. Cyr, Noble Sissle, and Freddie Green, who became major jazz guitarists, band leaders, and composers.

Across the 20th century, the banjo declined. Musicians, white and Black, abandoned the banjo as the old time dances died out. Though Memphis five-string banjoist Gus Cannon made thirty-three blues and rag records from 1927 to 1930, pianos and steel stringed guitars dominated the blues. In jazz the new large arch top and, later, electric guitars replaced banjos. Even in country music, the banjo became chiefly a prop for hayseed comedians until Earl Scruggs changed everything in 1945. Yet, African American traditional banjoists survived even if their music was no longer popular. Folklorists and banjo enthusiasts found and documented surviving Black banjoists like Dink Roberts, Nate and Odell Thompson, Rufus Kasey, Elizabeth Cotton, Lewis Hairston, and Etta Baker. Scholars like Dena Epstein and Cece Conway, reaffirmed the African ancestry, Caribbean origins, and Black American history of the banjo. Starting with 1960s folk blues performers Taj Mahal and Otis Taylor, a new generation revived Black banjo playing.

The 2005 Black Banjo Gathering in Boone, North Carolina brought this revival to a new stage. Featuring scholars and players of West African music; Black banjoists like Jazz banjoist Don Vappie; the Ebony Hillbillies, New York’s Black string band; the young Black musicians who later formed the Grammy-winning Carolina Chocolate Drops; banjo historians like Robert Winans and Cece Conway; and leading banjoists like Mike Seeger and Bela Fleck, the gathering celebrated both African American banjo heritage and the Black banjo revival. Since the gathering, scholars from Africa, Europe, and North America have vastly expanded our knowledge of the banjo’s African roots, Caribbean origin, and African American history. Black banjoists have become a growing feature of both folk music and jazz. Young musicians, Black and white, have even taken up the akonting and other West African instruments that are the banjo’s ancestors. The banjo’s African American heritage is celebrated worldwide.

The article was written by Tony Thomas, the leading African American scholar of the banjo. Thomas organized the 2005 Black Banjo Gathering, served as contributing historian to the PBS documentary Give Me the Banjo, plays banjo and guitar with the Ebony Hillbillies, and has presented on Black banjo history and taught banjo at old time music, blues, and banjo festivals, universities, and public schools in the United States and Europe. His work has been published in periodicals like The Black Scholar and the Old Time Herald and is forthcoming at Illinois and Duke University presses. He can be reached for presentations, performance, and classes at

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(Reblogged from eatshitwhiteboy)
Played 13,572 times



weird al did a fucking iggy azalea parody i cant believe this

this is literally better than the original

Weird Al > iggy

(Reblogged from killbenedictcumberbatch)


People who use slurs all the time remind me of really aggressive, badly-trained dogs who take your things, but growl and bite at you whenever you try to tell them it’s not theirs and call them out on their harmful behavior.

Remind me again, who is being  too sensitive?

(Reblogged from feministcaptainkirk)
(Reblogged from floozys)

Anbody that has Slipknot in their itunes has that one version of Wait and Bleed that repeats the outro with 20 somethin seconds left cuz they downloaded it




I’ll be making prints of it at my own store sometime by next week yaaaa.

I hate this so fuckin much oh my gosh

this shit is so stupid
(Reblogged from wakaflaquita)
Played 1,774 times



Reggie Watts on Conan in 2011 (x)

Why do I love Reggie Watts so fuckin much..?!

(Reblogged from bootykitchen)

I’m on the bus watchin this dude tryna holla at this chick and he is tanking HORRIBLY

Dude like: “you wanna join the make a wish foundation?”

Chick: “boy gone, whatchu mean?”

Dude: “nah just close your eyes and make a wish and imma make it happen”

LMFAO, like for real dude? Get the fuck outta here with that fu-fu lame shit