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Monday, December 22, 2014

How the media made Azealia Banks a monster and Iggy the poor, ivory innocent damsel in distress

But Azealia Banks is the bad person, the bigot, the racist????  I know Iggy must feel salty because she can't undo her tweets, what's posted online is forever, ha! She's so fake. There's a legion of tweets from her showing  that she had been bullying others before she got famous. Oh no but people aren't holding that against her. But people continue to bring up Azelia's problematic tweets as into why she can't be taken seriously. No matter what controversy Azealia has been in she's still black 24/7, 365 days a year. Iggy can take the Black minstrel paint off and go back to her lily white culture but Azealia can't stop being black.


Oh no and there's more, she had a tweet where she compared people not liking her for culture appropriating to when black girls are told you're pretty for a dark skin girl.

You guys see how quick the white media (even a black site jumped to Iggy's defense? Why have they never made her racist tweets a discussion on their blogs, and if they did why are they still supporting her and making her the victim? You know the answer to this.

Isn't this the common theme? A white girl can bully a black girl and still be seen as the innocent one? That porcelain skin, dainty features and silky golden locs just makes it impossible to see the white girl as evil, no matter if they're cutting the heads off baby kittens.

Black women are automatically seen as bad by default. Black is considered a bad color, it's associated with witchcraft, darkness, and anything evil. Whites have profited off of this very stereotype which is why black people suffer punishment far worse than melanin challenged others. When a black woman does something her black skin makes her act all the more worse, because people already see her as "bad" anyway.

This is what happens between black women and white women, light skin women or white passing women of color. This is why Rihanna can be a bitch and people think it's cool, trendy and cute, but when someone like Nicki Minaj does it, the brown girl, then she's a bitch. This is why Taylor Swift can confess in her music that she's had multiple industry boyfriends and no one calls her a hoe like they would K.Michelle or any other black woman. This is why Amber Rose can make up come up from being a stripper but someone like Johnni Blaze from Love and Hip Hop is a whore who doesn't deserve media attention. Azealia Banks is no different. She's loud, she's outspoken, she doesn't hide her emotions and people hate that in black women. They want black women to remain docile and silent, not because they find it attractive on us but because they feel we need to know our place.

Black people and white society think like this, because believe it or not, a mob of angry black women is a threat to everything. Like I said in one of my articles a while back, society profits off of the abuse of black women. They profit off our insecurities because they know by default we don't fall in line with their Eurocentric racist beauty standards, they profit from our vulnerability because they feel like no one else would love us, and the list goes on. They love that we're their punching bag, I mean hell they can't discriminate against any other group because it's against the law. A mob of angry black women is also a threat to black love and the black family. Black women are needed to help black men dethrone white men, it's literally the only thing they find us useful for. Our wombs, and uterus. So imagine if we decline all of this type of usage and just finally had the final straw and boycotted everything. A lot of people would be upset and a lot of corporations would go out of business.

Azaelia Banks is a very talented artist, and she is very right about the racism in the industry and the erasure of black talent and music by white artists appropriating them. She's saying nothing different than what black people have been saying as long as I've been black, the only problem is she's not the black woman they want presenting this kind of debate. Only black women are told to be model citizens to speak about racism. You can pick Junebug from the corner store regarding black men or a brotha straight from prison and black people will still give him the floor. Not black women, not only do we have to be the right kind of victim but also the right kind of spokesperson, it's gross.

This is why I strongly encourage black women to start a movement. People can't get shook behind a keyboard or seeing comments begging and pleading to be respected, we need to put our money where our mouth and feet are. I'm on board but Lord knows many other black women aren't because they've internalized a lot of anti-black woman hatred, and are very black male identified.

BTW, if you haven't seen the interview that led up to this, here it is:

Sunday, December 14, 2014

Black women must avoid Hoteps at all costs and my tips on how to spot them!

Black women must avoid Hoteps at all costs and my tips on how to spot them!

December 13, 2014

The Conscious Starter Kit 

Hoteps hate Black women. Yes, for all their Black unity talk, one thing I have learned is as much as many “conscious” types claim to despise White supremacy; they really want to mimic their patriarchy in the name of faux Black unity. Let me explain.
Ever notice how they body shame Black women. They try to tell Black women how to act, look and they even tell us how to style our hair, which in my opinion is strange unless you are in the fashion and beauty industry. They do this because they want to control Black women and limit our social, political and economic options.  You see they spout that nonsense because they want easy ass without the responsibility. They want a harem of women. Then they blame Black women for being single mothers.
Then there is the homophobia. The vilest homophobia I have ever seen comes from this crowd. Being gay in Africa was accepted long before the White Christians and Muslims came. Read more about it here. The most ironic thing from the aknt wearing hotep crowd is that they use invader slave religions, the ones used to enslave their own flesh and blood, brought by the Whites they hate to justify both.
Honestly we have to ask them, how can one be proBlack but reject our West African ancestry? How can one be proBlack and want to subjugate more than half of the Black population, Black women? How can one be proBlack but hate another Black person because they love  someone of the same sex? The honest truth is that they want Black women and Black LGBTQs to trade a White supremacist oppressor for a Black Nationalist one; either way Black women and Black LGBTQs lose. If they were really proBlack they’d want equality for all but deep down they really don’t. They want to become what they despise most. They want to become the oppressors because they aren’t proBlack at all.
Here are my tips for identifying hoteps:
  • Hoteps are always talking about kings and queens but rule over their mama’s apartment in the projects.
  • They use words like metaphysical even though they have no clue what it means.
  • They talk about things being 360 degrees because it sounds better than just saying circle.
  • They see conspiracies because that explains why they are not successful and if you disagree with them you are an agent.
  • They talk about a revolution that they hope never comes because it means actually working.
  • They talk about how evil the White man is while taking the slave masters religion and replacing White Jesus with a Black face.
  • They want Black power but only for Black hetero men.
  • They hate anything gay and blame single mothers for gay children forgetting they helped make them.
  • They call their legions of fatherless litters’ nation building while blaming all of his four baby mamas for him not going to see his kids.
  • The mothers of their children try to recruit you in it too.
  • They spell America AmeriKKKA or Africa AFRIKA!
  • They know all about Egypt but know nothing about West Africa, which is where their ancestors are from.
  • Their social media names contains Rah, Bey, Imhotep, or EL even though their legal last name is Johnson.
  • They believe White men are the devils but his daughters are marriage material and good for breeding.
  • They hate Scandal but love Power.
  • They believe feminism is a tool to emasculate Black men because equal pay for Black women, family planning and a life without domestic violence are bad things.
  • They tell you marriage to one woman is an Eurocentric institution and are pro polygamy but are against polyandry.
  • They tell you a Black man should lead and Black women should follow.
  • They want a Black woman to submit but go to work to support him too.
  • They tell you a Black woman should uplift her man while sacrificing her needs for the community aka him.
  • They tell you Black men have it harder than Black women while failing to see that Black women are victimized by both nonBlacks and Black men.
  • They share all kinds of cartoons, movies and memes depicting Black men as weak, light skin Black women with natural hair lifting up Black men or dark skin Black women as hood rats with children who are tools of the White man.
  • They call Black men who love, protect and uplift Black women simps.
  • They insist that no one outside of the Black community wants Black women.
  • They always point to Black women’s unmarried rate but fail to discuss Black men having the highest unmarried rate.
  • They are OK when Black men marry nonblack women while Black women who marry out are bed wenches.
  • They tell you they love ALL Black women but she has to be the right looking kind. She must be Black but not too Black. Only light skin and long curly hair need apply. The memes they share show it.
  • They say the love all Black women but hate Black bitches. Who are Black bitches? Anyone who rejects them.
So you see a Black woman can never win. The best thing you can do is simply avoid them, make smart choices and live your life for you.  Feel free to add.

Friday, December 12, 2014

No shiz sherlock: 10 Reasons The Grammys Are As White As You Think They Are By Aimee Cliff


Back in October, long before awards season, Drake decided to liven up one weekend by hosting his own "Hood Grammys" on Instagram, handing out virtual gongs and the all-powerful Drake co-sign to the likes of Rae Sremmurd, Bobby Shmurda, and iLoveMakonnen. He prefaced his awards with a brief speech, in the form of a caption: "haaaaa Grammys need to have a rap year. Run it up." He's got a point: not that we need a gimmicky, one-off homage to hip-hop per se, but that the Grammys are still as out of touch as they've ever been—and just as white.
It's been 26 years since Chuck D rapped Who gives a fuck about a goddamn Grammy?, and those flickers of discontent have kept on simmering. Last week, the nominees for the 57th round of the awards were announced to a chorus of zzz. Sure, Drake and iLoveMakonnen bagged nominations for SoundCloud loosies "0 to 100" (Best Rap Performance and Best Rap Song) and "Tuesday" (Best Rap/ Sung Collaboration). But elsewhere, the same old problems were glaringly obvious. Below, I've compiled what's essentially a list of factual observations about the Grammys' nominations: extrapolation is barely even necessary to see that these details add up to an annual event that's hopelessly out of date with both the music industry and the world. It's one glaring example of how hip-hop artists—and black artists in particular—are still excluded from an upper echelon of the industry, right there in front of you.


1. Fewer than 20 percent of Album of the Year awards have gone to black artists

Since the very first ceremony in 1959, only 10 of the 56 awards handed out for Album of the Year have gone black artists (and three of the 10 went to Stevie Wonder), a number that woefully under-represents the influence black artists have had on the music industry. While it might seem logical to assume that the rate would at least be increasing, the last of those was in 2008, for Herbie Hancock's River: The Joni Letters.

2. It took them 10 years to recognize rap

The Best Rap Performance category was launched in 1989, 30 years after the ceremony first began and a decade after the genre first charted, and it's been missing the mark since the start. The first Rap Performance award was won by DJ Jazzy Jeff and the Fresh Prince, gaining criticism from fans who argued N.W.A's Straight Outta Compton and Public Enemy's It Takes a Nation of Millions to Hold Us Back were both more formative and ultimately influential albums.
Things haven't gotten much better. Earlier this year, when Macklemore won Best Rap Album over Kendrick Lamar, he was embarrassingly embarrassed, to the point where he texted Lamar an apology and infamously posted it for the world to see. As Drake subsequently pointed out, that was a questionable and pretty cowardly move, but it also provided an awkward glimpse into how artists in the genre's inner circle feel about what it means to win a Grammy today. "This is how the world works," Drake said, tacitly acknowledging the politics at play. "Whether people wanna say it's racial, or whether it's just the fact that [Macklemore] tapped into something we can't tap into."

3. Only three Album of the Year awards have ever been given to hip-hop records

Hip-hop albums often get stuck in the rap categories, and don't have the same chances when it comes to competing for the big titles. The last hip-hop record to win Album of the Year was OutKast's Speakerboxxx/The Love Below in 2004. In the years since, Kanye West's Late Registration lost out to U2; Lil Wayne's Tha Carter III lost out to Robert Plant and Alison Krauss; Frank Ocean's channel ORANGE lost out to Mumford and Sons, and Kendrick Lamar's good kid, m.A.A.d city was skipped over for Daft Punk. This year, no hip-hop albums were nominated.

4. Kanye hasn't been up for Album of the Year since Graduation

Of all these snubs, Yeezy's feels the most prolonged. For a while, the Grammys treated West favorably: The College Dropout and Graduation were, like Late Registration, both nominated for Album of the Year, despite not winning. But 2008 marked West's last nomination for Album of the Year. 808s & Heartbreak didn't receive a nod for either Album of the Year or Best Rap Album; My Beautiful Dark Twisted Fantasy, Watch The Throne and Yeezus—according to Metacritic, the three most critically acclaimed albums he has ever made—were only nominated for the latter category, not the more prestigious former. Metacritic also determined that Yeezus, despite suffering diminishing sales figures after its release, was overall the most critically acclaimed album of 2013. But Album of the Year that year went to inoffensive English folk group Mumford and Sons, whose Babel was the highest-selling debut album in the US in 2012, despite having a much lower critical score.
West, who has never stopped short of saying what's on his mind when it comes to sacred American institutions and their gatekeepers, offered a salient critique during a Yeezus concert in 2013. "Fuck those nominations!" he told the crowd, speaking of the Best Rap Album and Best Rap Song tips he had just received. "I'm 36 years old and I have 21 Grammys. That's the most Grammys of any 36-year-old. Out of all of those 21 Grammys, I've never won a Grammy against a white artist… What are they trying to say? Do they think that I wouldn't notice?"

5. The people picking the winners are out of touch

Last year, the journalist Rob Kenner shed light on what it's like to be a Grammy voter, and why the system has such a skewed perspective. There are two rounds of voting, of which Kenner takes part in the first, and which sees every voter in the Recording Academy being given the ability to vote in most categories, whether or not they know anything about them. "Bottom line: the vast majority of the nominations are chosen by people who have little real expertise in a given field. I refrained from voting in heavy metal and classical because I know very little about those genres. But I could have if I wanted to, and that strikes me as a problem."
This leads to bigger names amassing more votes purely because of their visibility. "Famous people tend to get more votes from clueless Academy members, regardless of the quality of their work," Kenner explained. "This is especially true in specialized categories like reggae and, to a lesser extent, hip-hop, where many voting members of the Recording Academy (who tend to skew older than the demographic for rap music) may not be well acquainted with the best releases in any given year." The final nominees and winners are then determined by a secret committee, who have the power to override the votes in the big four categories as well as those for Gospel, Country, R&B, Latin, Jazz, and Music Video (notably not Rap). Critics over the years have observed that this committee's choices seem to be more concerned with TV ratings than they are with fair representation of artists.

IN 2014:

6. Every Best New Artist nominee is white

Glancing back up at Drake's "Hood Grammys" nominees—all of whom have had massive years—it seems impossible to grasp that all the nominations for Best New Artist have gone to white artists. To give the Grammys the benefit of the doubt, their list aligns neatly with the Billboard list of the top breakthrough artists of the year (based on sales, airplay and streaming)—Iggy Azalea, Sam Smith and Bastille all feature prominently on both. In this case, their choices seem to be purely about algorithms rather than cultural innovation or impact—which is not ideal, but reveals the logic behind the all-white choices.
Across past years, though, a bias has revealed itself towards white artists, for example with Nicki Minaj losing to Bon Iver in 2012, and Frank Ocean losing out in 2013 to fun. Interestingly, Minaj's debut album peaked at number two on the Billboard 200 chart, which was the same as Bon Iver's sophomore album released the same year (though she sold 375,000 copies in the first week after release, in comparison to Bon Iver's 104,000). Ocean's debut, channel ORANGE, peaked at two, with fun.'s 2012 sophomore album peaking at three (their previous album peaked at 71). Bon Iver and fun. were both on their second albums, and—in a purely economic sense—performing as well as, or worse than, than their black competitors' debuts. So the decision can't be seen as a purely chart-driven one.

7. Every Record of the Year and Song of the Year nominee is white

Combined with Best New Artist and Album of the Year, these two categories make up the "Big Four" at the Grammys, aka the categories everyone cares about. There's no love for rap or R&B hits like Kendrick Lamar's "i" (which is nominated for Best Rap Performance), Chris Brown's "New Flame" (nominated for Best R&B Performance), Nicki Minaj's "Anaconda" (Best Rap Song), Jeremih's "Don't Tell 'Em," or Usher's "She Came To Give It To You."

8. It's not a case of black artists not selling as much as white artists

We could be cynical and assume that the Academy only picks the music with the highest sales for the "big four" categories, but even more explicitly "pop" songs from black artists, which moved more units than "Chandelier" or "Fancy," have been ignored. Pharrell's ubiquitous "Happy" outsold everything in 2014, yet he gets a nod for Album of the Year and not Record or Song (Sam Smith, on the other hand, has nabbed nominations for Album, Record and Song). John Legend's huge tearjerker "All of Me," third on Billboard's Hot 100 songs of 2014, got a Best Pop Solo Performance nomination, but somehow didn't cut it for the primary categories. Meanwhile Katy Perry's trap-absorbing "Dark Horse," which featured a verse from Juicy J, gets a miss despite being the second biggest single of the year (again according to Billboard) and the most-watched YouTube video.

9. The Grammys are still using "urban" to denote "black"

In 2013, the Grammys introduced the "Urban Contemporary" category, ostensibly as an intermediary between the Pop and R&B categories (the R&B one, meanwhile, in the words of Grantland's Rembert Browne, had morphed into "this middle ground between pop and rap"). So far, the winners of that award have been Frank Ocean and Rihanna, both of whom could have swept the Album of the Year and Pop Vocal Album categories if the world was good and fair. In that same Grantland article last year, Browne went on to declare the 2013 nominations "a mess," adding that the annual event would probably continue to be so "until the word 'urban' no longer is used as a safe conduit to describe 'black' things… Don't hold your breath."
Really, don't hold it. So far, in its short lifespan, every nominee in the Urban Contemporary category has been black, with nods going to Beyoncé, Pharrell, Jhene Aiko, Chris Brown and Mali Music this year. Apart from race, what distinguishes them from the nominees for Best Pop Vocal Album (Ariana Grande, Ed Sheeran, Coldplay, Sam Smith, Katy Perry and Miley Cyrus) is unclear. Even the people on the judging panel don't seem to know exactly what Urban Contemporary is, having placed Beyoncé's "Drunk in Love" in the categories for Best R&B Performance and Best R&B Song, despite not labeling Beyoncé an R&B album.

10. White artists making music influenced by black culture get treated differently

It's especially interesting to see Miley—an artist who built her whole album campaign and new sonic direction last year around the grotesque appropriation of black culture—being labelled as Pop rather than Urban Contemporary.
Meanwhile, this year Iggy Azalea became the first ever rapper to be nominated for both Best Rap Album and Best Pop Duo/Group Performance for her own song (as opposed to Best Rap/Sung Collaboration). Juicy J and Nicki Minaj also rear their heads in the Pop Duo category, but as featured artists on tracks by Katy Perry and Ariana Grande; Iggy is the first rapper whose own song, from her own album, is being treated as "Pop," while the album itself is "Rap." Apparently, if you're a white woman, you don't have to be confined to the Urban or Rap categories; and don't forget, Iggy is also the only rapper nominated this year in the Best New Artist and Record of the Year categories. Move over Macklemore. If our discomfort with this year's nominations could be personified in one performer, Iggy Azalea would be it.

Oh it gets worse: Black Girls With Darker Skin More Likely Than Their Light-Skinned Counterparts to Be Suspended

"But...but... da colorism don't exist, it just be dese ugly dark skin bitches hatin cuz dey ugly ", says the black community all the time.


Study: Black Girls With Darker Skin More Likely Than Their Light-Skinned Counterparts to Be Suspended




Not only are black girls the target of harsher discipline at school, but those with the darkest skin tones are also more likely to be suspended than their lighter-skinned counterparts, an analysis conducted by Villanova University (pdf) has found.
According to the study, darker-skinned black girls are three times more likely to be suspended than black girls with a lighter skin tone. Villanova sociology professor Lance Hannon, who contributed to the report, noted that this bias came from different gender expectations between black girls and white girls.
“When a darker-skinned African-American female acts up, there’s a certain concern about their boyish aggressiveness,” Hannon told the New York Times, which did an extensive report. The concern is “that they don’t know their place as a female, as a woman.”
Black girls, the research noted, also tended to be disciplined for subjective perceptions such as having a bad attitude or being noncompliant.
The Times detailed one particular situation that was handled very differently and seemingly showed a huge racial disparity. Two friends got into trouble at the Dutchtown Middle School in Georgia last year for vandalizing the walls of a gym bathroom. One girl, Mikia Hutchings, 12, is black. Her friend, who was not identified, is white.
Both students were suspended from school, but that is where the similarities end. Mikia went through a disciplinary hearing, which eventually ended up being a juvenile criminal case for a trespassing misdemeanor and a possible felony, the Times details. Her family was unable to pay the $100 restitution.
Accepting a deal that had her charges dismissed, Mikia spent a summer on probation, with a curfew, and completed hours of community service.
Her friend? That little girl had no further issues after her parents paid the restitution.

Thursday, December 11, 2014

No shiz sherlock: Black Girls Face Harsher Discipline in Schools than White Peers

Black Girls Face Harsher Discipline in Schools than White Peers

Thursday, December 11, 2014

by Tanzina Vega for the New York Times

To hear Mikia Hutchings speak, one must lean in close, as her voice barely rises above a whisper. In report cards, her teachers describe her as “very focused,” someone who follows the rules and stays on task. So it was a surprise for her grandmother when Mikia, 12, and a friend got into trouble for writing graffiti on the walls of a gym bathroom at Dutchtown Middle School in Henry County last year.

Even more of a surprise was the penalty after her family disputed the role she was accused of playing in the vandalism and said it could not pay about $100 in restitution. While both students were suspended from school for a few days, Mikia had to face a school disciplinary hearing and, a few weeks later, a visit by a uniformed officer from the local Sheriff’s Department, who served her grandmother with papers accusing Mikia of a trespassing misdemeanor and, potentially, a felony.

As part of an agreement with the state to have the charges dismissed in juvenile court, Mikia admitted to the allegations of criminal trespassing. Mikia, who is African-American, spent her summer on probation, under a 7 p.m. curfew, and had to complete 16 hours of community service in addition to writing an apology letter to a student whose sneakers were defaced in the incident.Photo

Sakinah White, a teacher, said her 17-year-old daughter tried to hurt herself after an incident at school led to criminal charges. CreditKevin Liles for The New York Times

Her friend, who is white, was let go after her parents paid restitution.

For all the attention placed on problems that black boys face in terms of school discipline and criminal justice, there is increasing focus on the way those issues affect black girls as well.

Data from the Office for Civil Rights at the United States Department of Education show that from 2011 to 2012, black girls in public elementary and secondary schools nationwide were suspended at a rate of 12 percent, compared with a rate of just 2 percent for white girls, and more than girls of any other race or ethnicity. In Georgia, the ratio of black girls receiving suspensions in the same period compared with white girls was 5 to 1, and in Henry County, that ratio was 2.3 to 1, said J D Hardin, the spokesman for the county’s school district. And researchers say that within minority groups, darker-skinned girls are disciplined more harshly than light-skinned ones.

Michael J. Tafelski, a lawyer from the Georgia Legal Services Program who represented Mikia in the school disciplinary hearing, and advocates for students say the punishment Mikia faced was an example of racial disparities in school discipline.

Wednesday, December 10, 2014

Sexism in the Ferguson Protest "Movement" - Surprise!

I stopped following this blog, but someone posted this on another one, and it was too good to pass up on. 



Sexism in the Ferguson Protest "Movement" - Surprise!