#african redemption

[keyamsha]

What Is Ubuntu?

What is Ubuntu? The time has come for humanity to forget and cast behind it false concepts of how we came to be here on this planet. In order to do so we must reexamine where we are headed as a species. Ubuntu is a Swahili word. Others have made much of Ubuntu’s meaning, a great deal of which lacks a factual basis and is little more than opinion. This post is about Ubuntu and the African…

[wesley-nkohla]

Red Dead Redemption II

[captainendgame]

i feel so bad for the Algerian boxer, her hormones, genitalia and chromosomes being discussed so publicly, people shamelessly bashing an african woman for looking the way she does without even a second thought, the italians played it good and the entire world is now kneeling at the white girl's feet for crying after a fucking punch in a boxing match. i hope imane gets the redemption she deserves and holds all these people accountable in front of God

[that-hazbin]

Media Demon AU

Imagine Charlie gets that tour in heaven and.. Isn't really all that impressed.

Somehow she convinces Emily to take a tour of hell, Sera and Adam agree because they want to see/spy on why their exterminations aren't as effective as before. So as Charlie and Emily have a week of exploring and partying in hell, the Heavenly Council is scrying their activities the whole time.

It isn't what they expected, between Angel Dust explaining the Safety & Consent Contracts, Alastor dragging the duo out on a multicultural day of musical hyperfixation, Vox explaining his failed attempts to make it big in entertainment, Velvette animatedly talking up the individual sectors separate cultural fashions and foods. Alastor definitely heard about Charlie's first adventure in heaven in the previous timeline and he can't resist a little oneupsmanship so Hell definitely has a petting zoo dedicated to tamed Hellscape animals. They meet Sir Pentious The Architect overseeing the reconstruction of a few devastated areas that 'that one uncouth uncultured golden pigeon Exorcist who wouldn't know good architecture from a mud hut keeps levelling' and who is undecided between rebuilding using a Russian Theme or South African theme because he's done too much Roman architecture lately and if he has to carve one more marble pillar he is going to cry.

Maybe they run into one of the other Overlord's like Camilla who offers a tour to the visiting ambassador of her own district's musical instrument repair and medical facilities dedicated to removing angelic steel contamination from demons, amongst them, child sinners still in recovery from angelic steel wounds caused on extermination day.

There is uproar in Heaven upon seeing actual children in Hell, even more so when they look up their files and learn they're in hell on a technicality.

And then they learn that Charlie Morningstar's redemption project isn't facing problems about recruiting sinners because they don't believe redemption is possible, but because the Exorcists actions have soured any belief that Heaven is any better than Hell.

Really, if the Exorcists stayed out of Hell and never returned, Hell would happily just go about it's business as if Heaven didn't exist at all.

Alastor probably isn't the only demon with Pocket Dimensions like his Bayou in terms of providing space for overpopulation issues.

While I don't think Heaven would do a tour of Hell specifically because they can just spy on them whenever they want without having to go in person, I absolutely LOVE the idea of Alastor purposely showing off how great Hell is. Alastor worked so damn hard to make Hell beautiful and worth loving, that Charlie probably WOULDN'T be as impressed with Heaven as she was in the previous timeline.

In fact, she might find Heaven a bit... ugly, actually. Heaven's all whites and pastels, everything looking entirely modern, clean to a clinical degree, kind of quiet, and it's just not very appealing to her. In fact, it's both blinding and sort of boring. Meanwhile, Charlie's used to a Hell full of jewel colors, fairy lights, street performers, murals on the side of buildings, and a whole TON of cultural diversity at every corner. Sure, Heaven has petting zoos and rainbow sprinkles, but uh... So does Hell. Does Heaven have paintball parks? Escape rooms? Laser tag? What about rage rooms, those are super popular in Hell, and they're pretty fun! Sometimes you just gotta break things to let off stress. How do people burn stress up here?

Heaven kind of leans towards anti-chaos, while the Hell that Alastor built embraces the chaos. I imagine the Heavenly Counsel or whatever they're called would be taken aback by this new version of Hell, as well as the sinner behind the change. Sinners are not just modeling the same behavior most have on Earth, they're living exponentially better lives than before.

Hell is meant to be a place of suffering, and yet it's basically become a place of rehabilitation itself, and the evidence of its effectiveness is everywhere. The fact that sinners are willingly selling their souls, expecting safety and human respect, and then getting that safety and human respect, is absolutely insane. People are actually kind to one another, work exploitation is basically non-existent in the entertainment industry, everything is bathed in artistry, from the streets, the buildings, and even the people themselves.

I think Charlie presenting her case in this timeline is going to go very differently from the previous one, because for one, she's not going to struggle with her talking points at all. Alastor had an impact on her upbringing and she knows exactly how to present her case in a way that forces her audience to listen, whether they'd like it or not.

For another, the sinner she'll choose to represent the possibility of redemption probably isn't going to be Angel Dust. It's going to be Alastor, despite the fact that he doesn't want to be in Heaven. Because in her eyes, he is by far the prime example of a redeemed sinner.

And Alastor, knowing from the previous timeline that the Heavenly Council is going to be spying on hell during Charlie's trip, is going to put on a Performance. He brings Angel along with him to the hospital, having a casual and Totally Not Planned conversation about how they can improve the soul contracts to make everybody feel safer. They pass through beautiful city streets, a park, a petting zoo, briefly stop by to talk with Pentious about his new project, the whole works. Take the scenic route to the hospital, making sure to show off just how beautiful the Pride Ring has become.

He visits the children's ward, because he's going to make this Hurt, and he and Angel distribute donated toys, blankets, and books. Makes sure to mention how "the angels killed this one's parents" to Angel, just to make DAMN SURE the exterminations are revealed. He knows he's changed things so he has to take extra measures just to be sure.

Sera is left floundering as the room devolves into Chaos, and Charlie, upon realizing the exterminations weren't public knowledge, smells blood in the water so she sinks her teeth in like a shark. Yeah, why do you think she's here? You've been killing children, and as you can SEE, Hell's doing FANTASTIC without Heaven's interference so she wouldn't even BE HERE if it weren't for the YEARLY GENOCIDE. You know, the crime that sends mortal souls down to Hell to begin with? And now you're trying to tell her redemption isn't possible BECAUSE you want to continue committing yearly genocide, is that what she's hearing?

Charlie's still a bleeding heart, but she's much more inclined to manipulation in this timeline because Alastor made sure to teach her that manipulation in itself isn't mean or evil, especially when you wield it as a weapon or shield to protect others. And she's going to manipulate the rising emotions of this room to her advantage and make them SEE her point. She's going to win this trial by a landslide.

[blackstarlineage]

The Harlem Renaissance and Black Arts Movements: A Garveyite Perspective on Cultural Pride, African Heritage, and Black Artistic Revolution

The Harlem Renaissance (1920s-30s) and the Black Arts Movement (1960s-70s) were two of the most influential cultural movements in Black history. They reshaped Black identity, celebrated African heritage, and used art as a tool for resistance against white supremacy. From a Garveyite perspective, these movements were more than just artistic expressions—they were crucial to the fight for Black self-determination, Pan-African unity, and the rejection of European cultural domination.

Marcus Garvey understood that culture is a weapon in the battle for Black liberation. He saw the Harlem Renaissance as a parallel movement to his call for Black nationalism, and the Black Arts Movement as a continuation of the fight to decolonize Black minds and reclaim African-centered consciousness.

This analysis will explore:

How the Harlem Renaissance aligned with Garvey’s philosophy of cultural pride and self-determination.

The role of Black literature, music, and visual arts in celebrating African heritage.

How the Black Arts Movement expanded on Garvey’s ideas in the 1960s and 70s.

The political and economic limitations of both movements.

How Garveyism remains relevant to Black artistic resistance today.

1. The Harlem Renaissance as a Parallel to Garveyism

The Harlem Renaissance (1918-1937) was a cultural explosion that saw Black writers, musicians, visual artists, and intellectuals reclaim their African heritage and challenge racist portrayals of Black people.

A. The Shared Vision: Garveyism and the Harlem Renaissance

Marcus Garvey and the Universal Negro Improvement Association (UNIA) were at the heart of Harlem’s Black awakening.

Both movements emphasized racial pride, African heritage, and self-reliance in the face of white supremacy.

Garvey and Harlem Renaissance artists rejected white assimilation, advocating instead for Black cultural and political independence.

Example: While Harlem Renaissance poets like Langston Hughes and Claude McKay wrote about the struggles and beauty of Black life, Garvey was delivering speeches on Black nationalism and Africa’s restoration just a few blocks away.

Key Takeaway: The Harlem Renaissance and Garveyism were two sides of the same coin—one using politics, the other using art, both fighting for Black liberation.

2. The Role of Black Literature in Celebrating African Heritage

A. Poetry, Novels, and Essays as Tools of Resistance

Claude McKay’s poetry directly reflected Garvey’s message of resistance. His poem "If We Must Die" (1919) was a rallying cry against white violence and oppression.

Langston Hughes, Zora Neale Hurston, and Alain Locke infused their works with African traditions, folklore, and pride in Black culture.

Example: Alain Locke’s The New Negro (1925) mirrored Garvey’s vision of a self-aware, empowered Black identity, separate from European validation.

Key Takeaway: Harlem Renaissance writers used literature as a weapon in the fight for Black dignity and cultural sovereignty.

3. The Role of Black Music in the Harlem Renaissance

Music became one of the most powerful expressions of Black cultural nationalism.

A. Jazz and Blues as African Diasporic Resistance

Jazz, rooted in African rhythms and improvisation, became the soundtrack of Black freedom.

Artists like Duke Ellington, Bessie Smith, and Louis Armstrong used their music to uplift Black pride and challenge white stereotypes.

Example: Jazz was banned in Nazi Germany and heavily policed in the U.S. because it represented Black resistance and cultural independence.

B. The Garveyite Influence on Black Music

Garvey’s movement had its own cultural expression through UNIA parades, Negro World newspaper poetry, and Garveyite songs.

The “African Redemption” theme in Garveyism resonated with musicians who sought to reconnect with African spirituality.

Key Takeaway: Jazz, like Garveyism, was an act of rebellion—Black music thriving despite white attempts to suppress it.

4. The Black Arts Movement: The Next Evolution of Garveyite Cultural Revolution

By the 1960s, the Civil Rights Movement and the Black Power Movement had ignited a new wave of Black artistic expression: The Black Arts Movement (BAM) (1965-1975).

A. How the Black Arts Movement Expanded Garvey’s Vision

BAM was directly influenced by Garveyism’s call for self-determination and anti-colonial resistance.

Unlike the Harlem Renaissance, BAM artists saw their work as political weapons against white supremacy, not just creative expression.

BAM sought to create an independent Black aesthetic that was unapologetically African-centered.

Example: BAM leader Amiri Baraka (formerly LeRoi Jones) called for “art that fights,” echoing Garvey’s idea that culture must serve the liberation struggle.

Key Takeaway: The Black Arts Movement was Garveyism in artistic form—Black artists reclaiming their image, rejecting white institutions, and building their own cultural power.

5. Political and Economic Limitations of Both Movements

A. The Harlem Renaissance’s Dependence on White Patronage

Many Harlem Renaissance artists depended on white funding and publishing houses, limiting their political radicalism.

W.E.B. Du Bois and others criticized Black artists for performing Blackness in ways that pleased white audiences.

Example: Some Black intellectuals feared that white-funded projects controlled the narrative, diluting the radical potential of Harlem’s artistic explosion.

Key Takeaway: Garveyism warned that true Black independence can not exist if white institutions control Black culture.

B. The Black Arts Movement’s Isolation from Economic Power

BAM was revolutionary in content but lacked the economic base to sustain itself.

Black artists were shut out of white-controlled publishing, film, and music industries, limiting their reach.

Unlike Garvey’s UNIA, which built businesses, BAM lacked a clear economic strategy.

Example: The FBI’s COINTELPRO program actively suppressed Black radical artistic movements, fearing their revolutionary potential.

Key Takeaway: Without economic and institutional power, Black artistic movements remain vulnerable to suppression.

6. The Garveyite Solution: How to Strengthen Black Artistic Resistance Today

To truly realize Garvey’s vision of cultural sovereignty, Black artists today must:

Control their own distribution networks – Independent Black media, publishing, and film industries must be prioritized.

Use art as a tool of economic liberation – Artists should invest in Black businesses and reinvest profits into Black communities.

Reject corporate exploitation of Black culture – Black creativity should serve Black liberation, not corporate profit.

Reclaim African identity in all artistic forms – True decolonization means producing art free from Western influence.

Strengthen international Pan-African artistic networks – Collaboration between African and diaspora artists is key to building a global Black cultural economy.

Final Takeaway: Garveyism teaches us that Black art must not only inspire—it must empower, fund, and sustain Black freedom.

Conclusion: Black Art as a Weapon for Liberation

The Harlem Renaissance and Black Arts Movement were not just cultural explosions—they were revolutionary movements that fought to define Black identity on Black terms. However, both suffered from economic dependence on white-controlled industries.

Marcus Garvey’s philosophy offers the solution to this ongoing struggle:

Black artists must control their own platforms.

Black culture must serve political and economic liberation.

Pan-African artistic collaboration must be strengthened.

As we move forward, the next Black artistic renaissance must be fully independent, unapologetically African, and dedicated to global Black power.

As Garvey taught us:

"We must canonize our own saints, create our own heroes, and elevate our own culture."

The revolution must be financed, owned, and controlled by us.

[kaythefloppa]

New Episodes of Wild Kratts

Three new episodes of Wild Kratts will be airing in November of 2024. Salamander Streaming, Bumblezzz, and Chimpanzee and Me.

The synopsis for Bumblezz is yet to come, however we have plots for Salamander Streaming and Chimpanzee and Me.

Salamander Streaming - Airing Monday November 4th, 2024.

Mysteriously, the Tortuga shorts and powers down while the gang is streaming a movie. Koki says it won't be back today. What are they going to do? Chris and Martin announce they can still do streaming - salamander streaming! The rest of the gang wonders, what in the world is salamander streaming? The bros explain that salamander streaming is getting miniaturized and floating down a stream in tiny little boats looking for salamanders, of course! It's a race to find as many salamanders as they can while Koki tries to fix the Tortuga.

Pre-Episode Thoughts:

This was one of the episodes that the brothers announced at their live shows. I think that they will be focusing on tiger salamanders. Either way, I think it's gonna be cool that we might have a Salamander Power Suit.

WK's pop-culture references in the modern seasons are really hit and miss, but this is actually some good fucken wordplay with streaming.

If the Tortuga really is powered down, then will we actually see Salamander Power? Or is it gonna be like Mystery of the Squirmy Wormy where the brothers don't use any Power Suits? Either way, I'm looking forward to it.

Chimpanzee and Me - Airing - Airing Wednesday, November 6th, 2024

The gang travels deep into Uganda's tropical forests to uncover the true nature of the chimpanzee, but Chris sprains his ankle at the most inopportune time and can't participate. He is sad and upset. It's the climbing adventure that he's always looked forward to most. He tries to hide his disappointment and gets support from his friends, but it is a young chimp who shows him how to truly make the best of a bad situation.

Pre-Episode Thoughts:

This was another episode that Martin had hinted at the live shows. What's funny is that 2D Martin also expressed the idea of heading into the African rainforests in Rattlesnake Crystal (an episode that IRL Martin wrote). Again, not sure why it took them almost a decade and a half to get to this, but I digress.

Goddamn we are getting a LOT of angst in S7. Between this, No Name Dream, and the most recent episode, A Fish Out of Water, we're getting more character-driven plots, (especially if you count Paisley's redemption in the special). And while this does seem to be similar to Flight of the Draco, this does seem to have an intereting twist. Chimpanzees have many abilities apart from climbing, such as intellect, empathy, craftiness, and communciation. Maybe Chris will discover that and eventually use those skills to rescue the chimpanzees and/or the gang from a bad situation later.

Also, baby chimps are really fucking cute. I so hope that Chris gets to name it in the episode.

I've debated with my friends on this, and I do hope that we see a Chimpanzee Suit.. but knowing how anatomically similar chimps are to humans, and given how uncanny the Power Suits in the modern seasons have been.... I very much wonder.

That being said, if there is gonna be a Chimp Suit, I wonder if Chris will be the one to invent it? Assuming that he's staying behind at the Tortuga throughout this episode and makes the observations, then it would make sense that he'd invent the suit. Martin invented the Ermine Power Disc back in Season 5, so maybe Chris could invent a Chimpanzee Suit. Part of me thinks it'll backfire just as horribly, but after the bullshit that was the Indri-Conda Suit, I'm willing to accept anything 😭😭

[specialagentartemis]

Public Domain Black History Books

For the day Frederick Douglass celebrated as his birthday (February 14, Douglass Day, and the reason February is Black History Month), here's a selection of historical books by Black authors covering various aspects of Black history (mostly in the US) that you can download For Free, Legally And Easily!

Slave Narratives

This comprised a hugely influential genre of Black writing throughout the 1800s - memoirs of people born (or kidnapped) into slavery, their experiences, and their escapes. These were often published to fuel the abolitionist movement against slavery in the 1820s-1860s and are graphic and uncompromising about the horrors of slavery, the redemptive power of literacy, and the importance of abolitionist support.

Narrative of the Life of Frederick Douglass - 1845 - one of the most iconic autobiographies of the 1800s, covering his early life when he was enslaved in Maryland, and his escape to Massachusetts where he became a leading figure in the abolition movement.

Running a Thousand Miles for Freedom by William and Ellen Craft - 1860 - the memoir of a married couple's escape from slavery in Georgia, to Philadelphia and eventually to England. Ellen Craft was half-white, the child of her enslaver, but she could pass as white, and she posed as her husband William's owner to get them both out of the slave states. Harrowing, tense, and eminently readable - I honestly think Part 1 should be assigned reading in every American high school in the antebellum unit.

Incidents in the Life of a Slave Girl by Harriet Jacobs writing under the name Linda Brent - 1861 - writing specifically to reach white women and arguing for the need for sisterhood and solidarity between white and Black women, Jacobs writes of her childhood in slavery and how terrible it was for women and mothers even under supposedly "nice" masters including supposedly "nice" white women.

Twelve Years a Slave by Solomon Northup - 1853 - Born a free Black man in New York, Northup was kidnapped into slavery as an adult and sold south to Louisiana. This memoir of the brutality he endured was the basis of the 2013 Oscar-winning movie.

Early 1900s Black Life and Philosophy

Slavery is of course not the only aspect of Black history, and writers in the late 1800s and early 1900s had their own concerns, experiences, and perspectives on what it meant to be Black.

Up From Slavery by Booker T. Washington - 1901 - an autobiography of one of the most prominent African-American leaders and educators in the late 1800s/early 1900s, about his experiences both learning and teaching, and the power and importance of equal education. Race relations in the Reconstruction era Southern US are a major concern, and his hope that education and equal dignity could lead to mutual respect has... a long way to go still.

The Souls of Black Folk by W.E.B. Du Bois - 1903 - an iconic work of sociology and advocacy about the African-American experience as a people, class, and community. We read selections from this in Anthropology Theory but I think it should be more widely read than just assigned in college classes.

Darkwater: Voices from Within the Veil by W.E.B. Du Bois - 1920 - collected essays and poems on race, religion, gender, politics, and society.

A Negro Explorer at the North Pole by Matthew Henson - 1908 - Black history doesn't have to be about racism. Matthew Henson was a sailor and explorer and was the longtime companion and expedition partner of Robert Peary. This is his adventure-memoir of the expedition that reached the North Pole. (Though his descriptions of the Indigenous Greenlandic Inuit people are... really paternalistic in uncomfortable ways even when he's trying to be supportive.)

Poetry

Standard Ebooks also compiles poetry collections, and here are some by Black authors.

Langston Hughes - 1920s - probably the most famous poet of the Harlem Renaissance.

James Weldon Johnson - early 1900s through 1920s - tends to be in a more traditionalist style than Hughes, and he preferred the term for the 1920s proliferation of African-American art "the flowering of Negro literature."

Sarah Louisa Forten Purvis - 1830s - a Black abolitionist poet, this is more of a chapbook of her work that was published in newspapers than a full book collection. There are very common early-1800s poetry themes of love, family, religion, and nostalgia, but overwhelmingly her topic was abolition and anti-slavery, appealing to a shared womanhood.

Science Fiction

This is Black history to me - Samuel Delany's first published novel, The Jewels of Aptor, a sci-fi adventure from the early 60s that encapsulates a lot of early 60s thoughts and anxieties. New agey religion, forgotten technology mistaken for magic, psychic powers, nuclear war, post-nuclear society that feels more like a fantasy kingdom than a sci-fi world until they sail for the island that still has all the high tech that no one really knows how to use... it's a quick and entertaining read.

[somedayillbepeterpan]

FOR BONUS POLINWEEK

DAY ONE | Favourite Season 3 scene: The Butterfly ball

PART 2: THE COLOURS, THE FEATHERS, AND THE NUMBER 8

The Dankworth-Finch ball has several notable pieces in the venue.

That the ball was centred on the colours ORANGE AND PURPLE

The colour orange conveys feelings of warmth, joy, and confidence. It is also strongly associated with creativity. 

The colour purple symbolises mystery, independence, and royalty. In the old days, only people from royalty can afford purple thread as it was rare and very expensive. The colour then became associated with the display of opulence and the wealth of the family. 

The combination of Orange and Purple is associated with the colour of sunset. 

2. That the venue had 8 COLUMNS and an 8 PIECE ENSEMBLE.

The platform had 8 columns and an 8-piece ensemble. The number 8 aside from symbolising infinity also symbolises stability often associated with financial power, prosperity, and karma.

3. That the centrepiece design is made up of OSTRICH FEATHERS.

The ostrich feathers are known to various tribes in East African cultures as a symbol of wealth and prestige. 

All of the above alludes to wealth, status, and prestige which we all know is NOT the Featheringtons. But the Butterfly ball not only is a triumph for Philippa and Prudence but Pen revealing herself as LW, albeit a double-edged revelation, also adds prestige to this often ridiculed family. I know that Pen touched on how people might not so quickly forget how she as LW has ridiculed the ton but her being an ally (and a recognised) rival to the Queen gives her power that no one in the ton has.

I especially love the symbolism of the colours. Both colours perfectly describes who Pen is as both Penelope and LW. Then there is the fact that the combination of orange and purple is often associated with sunset makes me think that this is Pen closing the chapter of LW as her secret and going into a new dawn as Pen who has accepted herself fully as LW.

Say what you want about the Featheringtons or their redemption arc but I love that this happened because of Pen stepping out of the shadows. I especially love her recognising that she has more in common with Portia that she thinks that LW couldn't have come out of nothing. Portia-- who were both a suspect and a victim of her circumstances was the one who pushed Pen to do better. I want people to remember that the Butterfly ball wouldn't be what it became if not for Pen and Portia's confrontation.

I have no idea if the writers were very intentional with all these details but I just love learning what the meanings are behind them.

PART 3: THE FEATHERINGTON DRESSES

PART 1: THE VENUE AND A FULL CIRCLE MOMENT

[widefuturesss]

The kind of dis-education that is happening on the continent is actually very jarring on so many levels. But thank Jah, knowledge is free and we can redistribute it. I want to go home and equip the scene with more literature, already during the 6 months home we were able to start our monthly Pan-African film club, Widefuturesss lectures and park gatherings which really encouraged conscious members of the community to step forward and share their own survival strategies and ways of existing beyond adapting to the mind numbing conditions of the supremacy. I don’t know why people fear the idea of critical social spaces, radical criticality isn’t rooted in punishment and shame, it is rooted in redemption and shadow work, it is rooted in intellectual and emotional labor as a pivotal labor towards strategizing and negotiating our collectivity… we need to learn to care for eachother past the cycles of trauma!!!!

healthy space for co-creators in offering to and for ourselves through the earth

[trapangeles]

Kendrick Lamar’s "Squabble Up": A Visual Masterpiece of Cultural References and Homage

Kendrick Lamar has once again cemented his place as a visionary artist with the release of his "Squabble Up" music video. Packed with cultural nods, historical tributes, and impactful cameos, the video is a layered exploration of Black culture, West Coast pride, and hip-hop legacy. Here’s a deep dive into the elements that make this visual a masterpiece.

1. Ice-T's Power Album Cover

Kendrick pays homage to Ice-T’s 1988 album Power, one of the foundational pieces of West Coast rap history. By referencing this album, Kendrick honors a pioneer who paved the way for artists to merge raw storytelling with mainstream appeal.

2. David Hammons’ “African-American Flag”

The reinterpretation of the U.S. flag by David Hammons, featuring red, black, and green colors, symbolizes Black identity and resilience. Kendrick’s inclusion of this flag is a nod to empowerment, heritage, and the ongoing fight for equality.

3. Soul Train Scramble Boards

Kendrick incorporates the scramble boards made famous by Soul Train, the iconic Black dance and music show. This nostalgic reference celebrates Black excellence and the cultural impact of the show, which gave countless artists a platform.

4. Trunk Boiz “Scraper Bike” Video

The video nods to the 2007 “Scraper Bike” video by Trunk Boiz, a Bay Area anthem celebrating creativity and individuality. This homage reflects regional pride and highlights how grassroots movements have shaped urban culture.

5. Menace II Society Reference

The tricycle scene is a direct reference to the 1993 urban classic Menace II Society. This moment reminds viewers of the gritty realities of inner-city life and ties Kendrick’s storytelling to a legacy of authentic cinema.

6. Isaac Hayes’ Black Moses Album Cover

Kendrick recreates the cover of Isaac Hayes’ 1971 album Black Moses. This nod pays tribute to a soul music legend whose work represented strength, vulnerability, and empowerment.

7. The Roots’ "The Next Movement" Video

Visual parallels to The Roots’ 1999 “The Next Movement” video highlight Kendrick’s connection to progressive hip-hop storytelling, showing his appreciation for fellow innovators.

8. Nate Dogg Tribute

Kendrick subtly honors West Coast legend Nate Dogg, whose smooth hooks defined an era of hip-hop. This tribute ties the video to the golden age of West Coast rap and acknowledges Nate Dogg’s lasting influence on the culture.

9. “Jesus Saves Gangsters Too” Outreach Ministry

This reference to the grassroots ministry founded in 2000 emphasizes themes of redemption and transformation. By including this, Kendrick underscores his message that no one is beyond saving.

10. Statue of a Black Panther

A striking statue of a Black Panther symbolizes resistance, unity, and empowerment. This imagery connects Kendrick’s work to the legacy of the Black Panther Party and its role in advocating for justice.

11. Ese’s Partying Scene

Kendrick includes a scene of Ese’s partying, highlighting the intersection of Black and Chicano cultures in L.A. This moment is a celebration of diversity and community, integral to the West Coast lifestyle.

12. Big and Curvy Women Dancing

The inclusion of big and curvy women dancing challenges societal beauty standards and celebrates body positivity. Kendrick has long been an advocate for authenticity, and this scene is a bold statement of inclusivity and empowerment.

13. Dog Trainer Bitten by a Pitbull

The scene of a pitbull biting its handler carries layered symbolism. It could represent the struggle between control and rebellion or speak to the unpredictability and survival instincts that define life in the streets.

14. Westside Traffic’s Hoover Stomp

Schoolboy Q’s artist Westside Traffic performs the Hoover Stomp, bringing raw, authentic energy to the video. This moment is a vibrant nod to L.A. street culture and its unique contributions to hip-hop.

15. Storm DeBarge’s Stunning Moves

Choreographer and dancer Storm DeBarge brings dynamic energy to the video with her captivating performance, further showcasing Kendrick’s commitment to highlighting Black artistry.

16. Black Panther Movie Connection

Kendrick subtly nods to his work on the Black Panther movie soundtrack. This acknowledgment reinforces his role as a cultural leader bridging the worlds of art, music, and activism.

17. Cameos from L.A. Stars

The video features appearances by Taz Arnold, G Perico, RJMrLA, and Cuzzos, bringing together a community of creatives who embody the vibrant spirit of L.A.’s music scene.

A Celebration of Culture and Legacy

From its rich cultural references to powerful imagery and standout cameos, Kendrick Lamar’s "Squabble Up" is a layered visual masterpiece. It’s not just a music video—it’s a celebration of resilience, identity, and the enduring legacy of hip-hop.

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[sapphic-agent]

you know I think one of the main of the main reasons I dont feel sympathetic for the league of villains is that their end goal is death and destruction. Having a villain be sympathetic for me means having motives that you understand whrre their coming from, even the methods are reprehensible. But the league just seem to want to spread misery and pain everyone around them with no remorse, which makes the storys attempts to make me feel sympathize with them fall flat as a pancake. I made a post comparing them to a group of sympathetic villains I actually sympathized with that I personally think are super underrated. I was curious what youre thoughts are on that.

Have you ever heard of the saying, "The child who is not embraced by the village will burn it down to feel its warmth”? It's an African proverb, a simile used to describe how the rejection of society can lead individuals down roads of destruction.

This applies to a good chunk of the League in my opinion. It's not outlandish for me to understand why kids who grew up with destruction and violence now only know how to destroy things. Especially in Shigaraki's case since Decay was forced onto him and changed his biology/mindset. His entire existence past his life as Tenko, he has been built to destroy.

I find the current LOV sympathetic, just not exonerable. I think that's what both their critics and defenders miss. You can condemn the actions of the LOV but understand that they're products of a flawed society who needed actual help. You can understand and sympathize with the fact that they were never given fair shots at life and admit that it doesn't excuse their actions towards innocents. They don't have to be mutually exclusive.

However, the LOV in the MLA Arc onwards and the LOV in their introduction are two different LOVs.

I've talked about the regression of the LOV before. Specifically in Toga, Dabi, and Spinner. Horikoshi simplified them a lot by casting aside that their involvement with the LOV was only because of Stain. Dabi even called Shigaraki out when they first met for having no plan or means of action. Dabi was also much more focused on false heroes as a concept, which implied that he saw Endeavor's abuse and ranking a societal issue, not an isolated one.

I do think the LOV deserves better. Not necessarily redemption, but I think they deserved to have their stories and characters handled with more care and consideration outside of being used as devices for the heroes to beat/save. The only one who kind of gets this is Toga, but she still died in the end so to me it doesn't mean much

[brujadepinarrio]

🐕San Lazaro💜

In Cuban folklore, San Lazaro(translating to Saint Lazarus) is a revered figure embodying a blend of religious and cultural narratives. This veneration primarily intertwines two distinct biblical accounts of Lazarus:

Lazarus of Bethany: Known as the friend whom Jesus resurrected after four days in the tomb.

The Beggar Lazarus: Featured in the parable of the rich man and the beggar, where Lazarus, a destitute man covered in sores, receives solace in the afterlife.

In Cuba, the depiction of San Lázaro predominantly reflects the beggar narrative. He is portrayed as an elderly man in tattered clothing, bearing crutches, with sores on his body, and accompanied by dogs believed to lick his wounds for relief. This imagery resonates deeply with many Cubans, symbolizing compassion and the hope for healing. 

The devotion to San Lázaro is especially evident on December 16th-17th, his feast day, when thousands of Devotees journey to the National Sanctuary of San Lázaro in El Rincón, near Havana. Devotees often undertake this journey to fulfill promises, seeking blessings or expressing gratitude for favors received.

Afro-Cuban Tradition & how San Lazaro regardless of syncretism or not is important to Cuban folklore

This veneration also reflects the syncretism in Cuban culture, where San Lazaro is associated with Babalú Ayé, an orisha in Santería known for healing and protection against diseases. This fusion of Catholic and African traditions underscores the rich, intertwined spiritual heritage of the Cuban people.

Thus, San Lazaro stands as a potent symbol in Cuban folklore, embodying themes of suffering, compassion, and the enduring hope for healing and redemption.

Afro-Haitian Tradition:

particularly in Haiti, San Lázaro is associated with Papa Legba, a loa in Vodou who serves as the intermediary between the spiritual and mortal realms. This connection arises from shared attributes of guardianship and mediumship.

Offerings given:

Devotees of San Lázaro (also syncretized with Babalú Ayé) offer various items to seek his blessings, particularly for health and protection. Common offerings include:

Food Items: Roasted corn on the cob, toasted bread with palm oil (manteca de corojo), and unsweetened espresso coffee. 

Beverages: Dry wine, rum, or gin, often sprinkled or blown over his image or shrine, though many prefer it professionally and put it in a cup or bowl.

Other Offerings: Cigar smoke, incense, and candles are used to sometimes purify the space and honor San Lázaro. 

In some traditions, specific animals like goats or roosters are sacrificed as part of the ritual.

Until next time, see you later🐕✨💜🩼🌽

[murfpersonalblog]

Castlevania Nocturne 2x1 Musings - "Monsters" & Souls

Lowkey the Abbot is ticking me off.

Effed up as it is, I LOVE what they're doing with Erzsebet & Drolta.

I effing HATE when people claim that monsters like vampires are soulless amoral animals, just cuz they're evil. As flat & hollow as Erzbet was in S1, CLEARLY she has a soul.

The Abbot said it himself: "You're GRIEVING." But his stupid arse still insists that it's impossible to turn Drolta into a Night Creature or whatever, cuz she has no soul since she's a vampire--this effing moron. After his own wife JUST told him that although she's a vampire now, she still loves their daughter Maria.

Even after he'd JUST spoken to Edouard:

Edouard: "I'm sorry that all your friends are dead." Abbot: "How can a creature like YOU be sorry?... You are Devils from Hell. And when the times comes, you will see me there."

It had already been well established that not all Night Creatures are soulless mindless demons. And it's not just Edouard who's "special" or whatever just cuz he can sing and has an OP character design--these other Night Creatures seem like they can THINK & feel, too!

It's not that humans have souls & vampires & Night Creatures don't. It's about the CHOICES that they make. A big part of Christianity is FREE WILL. Will they choose to follow their base impulses & act on wickedness, or will they fight those impulses and choose to do good?

Maria & Alucard were discussing their p.o.s. fathers, and Alucard was SO right: "I've known human men who were FAR worse [than my father, Dracula]." We got that whole iconic convo in OG S1 from the crooked priests who were read for filth by NIGHT CREATURES for being corrupted a-holes who'd SOLD heir souls for power.

But although I get where Alucard was coming from, as of right now I highkey disagree with him about how "If anything can redeem anyone in this world, then yes, love probably can."

I thoroughly doubt that Erzsebeta's capacity to love Drolta will cancel out her being an evil heifer who can't be redeemed & deserves to die. We've gotten NOTHING from her that justifies WHY she's even doing ANY of this stuff in S1 & S2. She's just evil for no reason, and IDC how much she's grieving Drolta--who's not a good person either, btw.

Cuz like, love redeemed Dracula--even Alucard acknowledged how Dracula realized he loved Alucard during their final battle.

IMO he was 100% valid for wiping out Wallachia--yes even the peasants, cuz they all stood around and watched as Lisa was burned at the stake for "witchcraft," when they all knew good & well that she was just a healer who HELPED THEM. But god forbid she be a fangbanger! DEATH! So even though Dracula was 100% justified in killing the Wallachians, he went way too far when he was like: I'm just gonna start a war & destroy ALL of humanity now. Like...?

Realizing you're capable of loving someone doesn't stop you from being effing evil & deserving to die. And Dracula knew that too. But I was HAPPY when DracuLisa were reborn and got to be together again, so Dracula could EARN his redemption by traveling the world with her and learning to HELP people. He CHOSE to stop being a big scary vampire, and using his powers for good. He knew Alucard was right to kill him, and didn't wanna waste his 2nd shot at life by making things hard for his son again.

But Erzsebeta doesn't have any of this foundational character development--I'm supposed to just feel bad for her cuz she's sad that Drolta's dead? Esp. cuz I have a baaaaad feeling that Drolta's gonna come back even WORSE, cuz of whatever it is that turns Night Creatures into demons. And all this talk about being her "servant" is rubbing me the wrong way, like Drolta might end up ROBBED of her Free Will if she comes back wrong--Erzsebet's already a colonizer stealing African secrets to boost her own powers, so the last thing I need is for her to have Drolta as her frikkn SLAVE. (She SEEMS fully cognizant at the end of the ep, so I hope this means she's ok.)

So I think Erzsebeta & the Abbot are 2 very interesting case studies wrt the degree to which love can redeem a p.o.s. person. I fully expect the Abbot to (try to) be redeemed, at least for the sake of fleshing out Maria's arc. But I think Erzsebeta's just going to get worse, thinking that her actions are fueled by "love," when it's really just her own shortsighted selfishness.

Time will tell!

[blackstarlineage]

Bob Marley also known as Robert Nesta Marley, born on February 6, 1945, in Nine Mile, Saint Ann Parish, Jamaica, was a singer, songwriter, and global cultural ambassador who transformed reggae into a powerful platform for change. As the lead vocalist of The Wailers and later a solo artist, Marley’s music transcended boundaries, with timeless hits like "No Woman, No Cry," "Redemption Song," and "Buffalo Soldier." His lyrics championed themes of love, justice, spirituality, and resistance against oppression, making him a voice for the downtrodden and a symbol of hope worldwide.

Through his Rastafari faith, Marley fused his music with messages of peace, anti-colonialism, and African identity. Deeply inspired by figures like Marcus Garvey and Haile Selassie I, Marley advocated for Pan-Africanism—the unification and empowerment of African-descended peoples. His song "Africa Unite" remains a rallying cry for solidarity, while "Zimbabwe" became an anthem for the country’s independence. Marley’s connection to the global fight for liberation cemented his legacy as more than a musician; he was a revolutionary figure in the struggle for equality.

Tragically, Marley passed away on May 11, 1981, at just 36 years old. He succumbed to melanoma, an aggressive skin cancer that began under his toenail and spread to his brain and lungs. Despite his diagnosis, Marley continued performing until his health made it impossible. His final words to his son Ziggy were: “Money can’t buy life.”

Bob Marley’s influence extends far beyond music. His ability to articulate the struggles and hopes of the African diaspora, while inspiring millions to seek unity and freedom, makes him one of the most enduring cultural icons of all time. 🇯🇲

[cow-rants]

Fair warning: this post is in regards to the recent Assassin’s Creed: Shadows trailer. I will talk about my thoughts and feelings regarding race. Thank you.

I’ve been a massive fan of Assassin’s creed (AC) since I first saw my uncle playing it at 7 or 8 years old. I’m a massive history buff and the idea of being able to experience the past through the eyes of an ancestor is such a brilliant idea. Not mention the concept of a secret war being fought through out the centuries is always fun. But as of late, I haven’t been really excited for a new entry. Odyssey was the last game I really played and it was alright, but I’m personally not a huge fan of the new RPG mechanics (although I do understand why they were implemented).

Valhalla looked interesting, but didn’t really feel like an AC game to me. So I put it on my “to play later” list. Mirage looked far better and I definitely do want to play it, but I honestly just haven’t felt a super big pull to pick it up. But when I saw that AC was finally going to Japan, I was ecstatic. I adore Japanese history in general and the Sengoku period is full of interesting conflicts and characters that would fit perfectly with the assassin’s and the templars.

Although they went with some pretty standard people to showcase, such as Oda Nobunaga, I still think they have a chance to do something really interesting story wise (of course, reserve all real judgement for the gameplay reveal. But I’m mainly just talking about the story). Especially with the portrayal of Yasuke. From what I could tell, it seems like his story will be one of disillusionment, possibly betrayal, and redemption. Certainly a story we’ve seen before, but it’s still interesting to see Yasuke in something as big as AC.

Before I get into the more unfortunate discourse regarding Yasuke, I absolutely have to talk about Naoe. See, what caught my eye about her was how she and my OWN AC OC have very similar stories. Well, I don’t know for sure. But they certainly share a similar experience, which is watching their families be butchered by Oda Nobunaga’s armies. It’s not much, but by the gods does it make me pretty happy. My OC’s name is Minori Kishimoto and she’s one of my favorites, so seeing a canon character with some similar traits is kind of exciting for me (okay, very exciting).

Anyhow, back to Yasuke. As soon as I saw the trailer, I knew I was going to see people saying something stupid. So I checked both the comments on the video and twitter. And I was certainly not mistaken. So so so many bad takes and ridiculous arguments that, honestly, only go to show either mild racism or straight up hatred toward African people. Not to mention the fact that they completely ignore Naoe as a protagonist. I guess she must be the greatest assassin of all time.

From what I understand, a lot of people are upset that for a Japan centered AC game, there is a black protagonist. Which, again, ignores Naoe entirely. The biggest argument I have heared against Yasuke being one of the protagonists is that he wasn’t actually a samurai. To which I say: False. Incorrect. Mistaken. Wrong. Factually incorrect.

The primary issue here is the fact that many people refer to him as a retainer. A title that he never officially held, as far as I’m aware, but even so that still makes him Samurai! Looking just at the facts of his life, he was respected by arguably the most powerful Daimyo of that time, earned his trust, received a pension, received a sword, and received property. So then the question becomes: what exactly makes a person a samurai at this time? Because I can tell you one thing, it isn’t noble blood.

A peasant man was once hired by Nobunaga to do a multitude of tasks, one of which was to hold his sandals. This man would soon prove himself to be capable of all of his tasks as well as in the art of war. He would become a powerful man and rise through the ranks until he held the rank of Taiko at the end of his life . That man was Toyotomi Hideyoshi.

If Hideyoshi’s story proves one thing, it’s that at this time anyone could rise to become a daimyo. So then, why wouldn’t Yasuke also be considered a samurai? We’re not even trying to claim he was a daimyo, just that he was a samurai. Retainer, bodyguard, slave, whatever. The fact is that the man was 10000% a samurai and was a respected one at that. To claim otherwise is to prove yourself ignorant in the history you claim to be proficient in, and incompetent at backing up your argument.

Not to mention that from a writing point of view, it’s a brilliant move. Yasuke was not super well recorded and thus is relatively unknown to others. Which makes him perfect for being a:

1. Fish out of water character

2. Real person, that can be treated written like a fictional one

All of this to say, I think that this newest Assassin’s Creed has a chance to become one of my personal favorites. As well as putting the series back on the map for many. But, with no gameplay and an already worrying pre-order package, I’m worried to say the least. Only time will tell, but I look forward to it.