#afro latino history

[mannyblacque]

Source: Aranivah | Links

[enchanted-moura]

Every time October arrives, Peruvians tend to eat the popular nougat . This culinary tradition originated thanks to Josefa Marmanillo , also known as 'Doña Pepa' , since the origin of this delicious Peruvian dessert is attributed to her .

In the month of the Lord of Miracles , the character of Marmanillo becomes more relevant, because she is considered the creator of one of the most famous customs of October. In that sense, we tell you who this emblematic personality was.

Josefa Marmanillo lived in the Cañete valley at the end of the 18th century. During her life, she was enslaved and, for several years, she worked on the cotton farms and during this time she excelled in confectionery, since she also used to sell sweets in the streets.

Upon reaching a certain age, she suffered from paralysis of her arms, which caused her to be released. Another version reports that, in reality, this character suffered a severe blow to the back during a day's work on a cotton farm.

In 1800, he moved to Lima to attend the procession of the image of Cristo Moreno. During his participation, he decided to approach the image and ask for his health. Thus, after his return to Cañete, he was able to recover the mobility of his arms.

-Larepublica.pe

[forthosebefore]

Are there Black dialects of Spanish?

Some people got a surprising result after taking an MIT dialect quiz. It was meant to guess what U.S. dialect the test taker spoke and the person's native language. As results started coming in, many Spanish speakers saw their English dialect had been marked as “U.S. Black Vernacular/Ebonics”

But what's the connection between speaking Spanish and U.S. Black Vernacular?

In the United States, dialects spoken by African Americans are sometimes referred to as Black English, African American Vernacular English, or even Ebonics. Though the terms have had different levels of popularity, having a specific name at all has given African Americans the ability to reclaim their language practices as a joyous part of their identity. 

But much less common are terms and discussions about Blackness and Black language beyond English. If Black English dialects exist, are there also Black forms of other languages due to colonization? For example, are there Black Spanishes and Black Portugueses, too? Read more here.

Source: Are there Black dialects of Spanish? by Aris M. Clemons

Visit www.attawellsummer.com/forthosebefore to learn more about Black history.

Need a freelance graphic designer or illustrator? Send me an email.

[thebread-07]

[sanyu-thewitch05]

I feel so sorry for the Afro-Dominicans because when I tell you some non-black Latinos and Dominicans fight to say Afro-Dominicans don’t exist.

[tredawakandan]

These are some old ideas I had for some books when I thought about making them once upon a time(non are real books, at least not at the moment 🤔)

-Book would go into the deliberate Whitewashing of American Indian images that includes proof via drawings, photographs and laws... Analysis would discuss how changing features would lessen the general depiction of what an Indian was.

-Book would dive into what makes a person Indigenous, Aboriginal etc.. Dwelling into what place does blood have to do in the conversation as well.. Does blood make someone Indigenous purely or are there other things to consider in the conversation. This book would go into the topic I've gone over dozens of times before. This topic being the changing of a peoples appearance historically especially more recent history.

-This book would accurately go in depth to the two groups of people who populated the Americas prior to European expansion.. These Two groups being the Siberian/Asian Tribes that migrated and the Dark/Black Tribes who were described to be similar in appearance to Melanesians/Africans .. Lots of Quotes,Drawings , Culture Break Downs would appear in this one.

-This book would be a more simple book that could be understood by younger readers or readers who generally love pictures. It would include not only pictures but simple descriptions from Explorers to use as evidence in support of the Dark Skinned indigenous that dwelled here..

This last book would be similar to the last book. In this piece we would explore the different rulers of both South & North America and the different downfalls they experienced. As I've shown before simple Europeans coming over did not conquer the America's.. Infighting among other things were all at play

[blackownersseekingsuccess]

The Resurgence of Cult Jam: Why Their Comeback Is Worth Celebrating

by Levi Wise Kenneth Catoe Jr.

Step back in time with me to the 1980s, when New York City's art scene was bursting with vibrancy and color. From the underground Hip Hop culture to the iconic Paradise Garage and Funhouse, the city was a haven for creatives of all kinds. Whether you were into New Wave, CBGB's Punk Rock, Graffiti art, or Breakdancing in Times Square, NYC was the place to be.

Amid all this creative energy emerged the musical group that would take the city by storm: Lisa Lisa & Cult Jam featuring Full Force. "I Wonder If I Take You Home" sold out in record stores as the soulful voice of Lisa Velez and the group's unique sound made them an instant success.

But with fame came a price, and it was a steep one. Recently, I had the chance to sit down with Michael Hughes, one of the founding members of Cult Jam, and discuss the challenges that come with success in the music industry. From the highs of topping the pop, R&B, and dance charts to the struggles of navigating the industry's demands, We spoke in-depth regarding the price of fame. I was fortunate enough to have musician Michael Hughes share his insights on making it in the music business in the 1980s and today

Levi Wise Kenneth Catoe Jr.: How are you, Mr. Mike Hughes? You came out of a very vibrant art scene in NYC that pretty much centered around “you had to be there to understand” How would you describe those days in the early 1980's on W. 26th Street in NYC at the Funhouse? 

Michael Hughes: At that time in New York City, at that age was phenomenal. Music and dance were so experimental then. We had such a great variety of music. Not just House music, R&B, or just Funk and Disco if it had a great rhythm or said something special, it got played; mixed crowds, straight or gay, we danced all night. 

LWC: Back in those days you had innovators like Keith Haring, Basquiat, Jellybean Benitez, Madonna, Africa Bambata, Shep Pettibone, Mister Magic, Funky Four Plus One More, and on and on and on; even Sade once worked at the Danceteria what was it about that period in a time in which none of the useful tools that young people now have easily at their disposal is made available; but yet so much creativity came out of that scene of music artist, graffiti artist, makeup artist, DJ, dancers, etc.?

MH: When you appreciate and respect all that came before you. And feed on the creativity of those around you. It's impossible for the seeds of growth not to enter your soul.

LWC: Cult Jam was the first Street/Urban act that came out of Columbia Records which is now Sony take me through that from A&R to executive decisions it was apparent that they were jumping on a bandwagon by opening the door to an act that had street-cred yet were still musically accomplished to be a gateway for the Hip-Hop that followed once you guys opened the door with two #1 smash hits on the Pop charts Head To Toe which also topped R&B and Dance Charts as well, and Lost In Emotions which to me aged better than Head To Toe and that music video was amazing; especially given the time of cheap urban videos. What was your take on that?

MH: Cult Jam came out following in the footsteps of groups like "Secret Weapon ", Unlimited Touch, GQ, and Shannon; other groups and artists came behind us continuing the music flow. Labels and the so-called powers that like to put music in boxes/categories so they can control what they usually don't even understand. 

LWC: CBS/Columbia Records {note: CBS/Columbia records is now SONY} did a poor job promoting the group the name was too long ‘Lisa, Lisa & Cult Jam featuring Full Force’ I feel it was a marketing strategy that was also being used with Miami Sound Machine to breakup the act and create a solo space for Lisa Lisa (Lisa Velez) do you agree? 

MH: The add-on to our name ‘Cult Jam’ was merely a shot in the dark at marketing something catchy. You never really know about that stuff. We used to say what's in a name. It's a stupid name until you have a hit.

LWC: How has the music industry changed since those early years? 

MH: The industry is different now, but what remains the same is money makes promotion make success. 

LWC: Do you guys, Cult Jam {note: founding member drummer/keyboardist Michael (Cultjam)Hughes, guitarist/bassist Alex (Spanador) Mosely, and their latest female vocalist/soultress, Long Island native Mystina Sol} feel more empowered today, or was the industry machine better than the social media and internet freedoms of today?

MH: We as a lot of indie artists are empowered. We can create something we love 100% with no interference or someone looking over our shoulder. Those creations can feel like your children. But the company machine can be very helpful. There is a give and take in every situation. Life is full of compromise. 

LWC: Talk a bit about where you are now and Cult Jam in its current form and describe your music genre. Are you still under the umbrella of Hip Hop and freestyle? What is the evolution?

MH: Cult Jam music can be best described then and now as feel-good-good. You dance and sing we supply the ambiance.

LWC: I represent a Black Literature space as well as a college student base that often is unaware of music beyond the same mainstream artist that’s constantly being streamed if there was one song of Lisa Lisa & Cult Jam to introduce them to your music what would that one song be?

MH: I wonder if I take you home our first puts you into the feel of what comes in the colors of Cult Jam. Celebrate what love can do from our current creations and keep that sexy feel essence. 

LWC: So now my question is how would you introduce someone unfamiliar with your previous music to who you are as Cult Jam today?

MH: Seeing Cult Jam live has always been what represents us best. We were a touring band from day one.

LWC: Thank you so much for speaking with our audience today. You are a boss.

MH: Much love and appreciation - Mike "Cult Jam" Hughes. 

*New Music* Holding Back The Years - Cult Jam / 2024

Levi Wise Kenneth Catoe Jr.

Editor, BOSS NYC

[haveacupofjohanny]

Episode 2: Unpacking Defectors by Paola Ramos—Identity, Whiteness, and Afro-Latino Perspectives

Episode 2 of my bookish thoughts on Defectors by Paola Ramos. If you've been wondering about the book, subscribe to Saturday Reads on haveacupofjohanny.com

Diving deeper into Defectors by Paola Ramos has been a wild, eye-opening ride. First off, I didn’t even realize she’s Jorge Ramos’ daughter! I mean, Ramos is a common last name—I even have it in mine—but still, it caught me by surprise. One part that really shook me was her conversation with an Afro-Dominican salon owner in Washington Heights. As she shared her fears about walking home late at…

[thevampirejcs]

Latina and Proud

What aspects of your cultural heritage are you most proud of or interested in? What I learned from my abuela was to garden. Unfortunately, she was hiding her heritage, so I had to learn odd things here and there. I had an idea she was Mexican (coffee ice cream, and banana popsicles gave her away) but I wish she would have said more. She had a recipe box full of passed down recipes that my mom…

[sankofaspirit]

Congratulations to Mijain Lopez on winning a gold medal in wrestling for Cuba at the age of 41! 🇨🇺 🏅

[libraryofbaxobab]

August 5, 2023:

This was a bit all over the place. I may have liked it more if I hadn't just read another horror novel about an insular community with strangely strict, cultish rules (Dead Eleven by Jimmy Juliano) that did it better.

There was a thread or two that were introduced and didn't go anywhere. A few major things didn't quite make sense to me (a character died and I do not actually know who killed them??) Oh, and the ~Secret Rules~ the town need to abide by (or else!) were extremely disappointing, especially after a 200-page tease. Just too much taking various vehicles back and forth and dialogue that boils down to "tell me the secret" "no, it's secret" "well then I'm mad."

It takes itself so seriously, but it all being over the nonessential act of swimming is hard for me to suspend my disbelief for. I get that it's using the US's fraught history of public pool integration as metaphor for the larger fraught history with race, but still. If my own neighborhood had rules against swimming, I wouldn't even know.

It was also clumsily edited? Several places where clearly one word was missing or there were synonyms next to each other like they thesaurused it and forgot to delete the old one.

3.5/10

[literaryvein-reblogs]

I love your writing tips 🫶🫶🫶tysm.....I wanted to ask how you write a black character

Writing Notes: Black Characters

What terms to use? Terms used to refer to racial and ethnic groups continue to change over time.

One reason for this is simply personal preference; preferred designations are as varied as the people they name.

Another reason is that designations can become dated over time and may hold negative connotations.

When describing racial and ethnic groups, be appropriately specific and sensitive to issues of labeling.

Race - physical differences that groups and cultures consider socially significant. For example, people might identify their race as Aboriginal, African American or Black, Asian, European American or White, Native American, Native Hawaiian or Pacific Islander, Māori, or some other race. 

Ethnicity - shared cultural characteristics such as language, ancestry, practices, and beliefs. For example, people might identify as Latino or another ethnicity.

Be clear about whether you are referring to a racial group or to an ethnic group.

Race is a social construct that is not universal, so one must be careful not to impose racial labels on ethnic groups.

Whenever possible, use the racial and/or ethnic terms that your participants themselves use. Be sure that the racial and ethnic categories you use are as clear and specific as possible.

For example, instead of categorizing participants as Asian American or Hispanic American, you could use more specific labels that identify their nation or region of origin, such as Japanese American or Cuban American.

Use commonly accepted designations (e.g., census categories) while being sensitive to participants’ preferred designation.

People of African origin. When writing about people of African ancestry, several factors inform the appropriate terms to use. People of African descent have widely varied cultural backgrounds, family histories, and family experiences.

Some will be from Caribbean islands, Latin America, various regions in the United States, countries in Africa, or elsewhere.

Some American people of African ancestry prefer “Black,” and others prefer “African American”; both terms are acceptable.

However, “African American” should not be used as an umbrella term for people of African ancestry worldwide because it obscures other ethnicities or national origins, such as Nigerian, Kenyan, Jamaican, or Bahamian; in these cases use “Black.”

The terms “Negro” and “Afro-American” are outdated; therefore, their use is generally inappropriate.

Example of bias-free language. Description of African American or Black people.

Problematic: "We interviewed 25 Afro-American people living in rural Louisiana."

Preferred: "We interviewed 25 Black people living in rural Louisiana." or "We interviewed 25 African Americans living in rural Louisiana."

Comment: “Afro-American” and “Negro” have become dated; therefore, usage of these terms generally is inappropriate. Specify region or nation of origin when possible to avoid the impression that all people of African descent have the same cultural background, family history, or family experiences. Note that “Black” is appropriate rather than “African American” to describe people of African descent from various national origins (e.g., Haitian, Nigerian).

How to Write Characters of Color Without Using Stereotypes

Creating characters that belong to a different racial group than you are can be down-right difficult.

You don't want to rely on stereotypes to describe them that can be offensive, harmful, or cliche.

In response to that apprehension, authors often avoid it; they take the easy way out and you don't describe them at all, but is that what's best?

Example. A basic and rudimentary physical descriptions of primary or secondary black characters:

she had chocolate brown skin and big, round eyes

By itself, there is nothing wrong with this description.

It's not necessary for every character to have a full, detailed description.

It's only problematic when this description is compared to the description of a primary or secondary white character:

his brown hair was in a military crew cut and he had icy blue eyes and pale skin

The white character is described more richly and the reader can form a picture in their mind, the black character's description is incomplete in comparison, therefore, the reader is forced to fill in the gaps.

Tips for writing deep character descriptions:

Find a picture of a real person who looks similar to your character (you may need more than one person) and use that as your guide.

Free write. Write out every single detail of the description. Whatever is in your mind just write it out.

Edit. Trim it down so it is more concise and note the words that you feel are stereotypical. Use a thesaurus to exchange those words for others.

You don't have to avoid all racial description. Yes it's ok for your black character to have an afro (some black people have afros).

Here's where the hard work comes in:

Remember that real person you were basing your character description on? Imagine reading your description to that person aloud. Try it. Pretend like that person is in front of you and read your description.

If you wouldn't feel comfortable saying it to that person's face then it shouldn't be on your page.

Finally, be creative and if it doesn't feel right keep editing and ask for help.

3 Warning Signs you can use for your work to determine if you should “avoid that Black character.” As in, rethink, reimagine, and rewrite.

If most of their scenes involve them giving a pep talk because they understand the main character or MC’s struggles better than anyone else due to their “unique” identity, you should avoid that Black character.

If the character has an aggressive, angry, or hypersexual* personality that constantly has to be tempered or simmered down, usually by a fairer-skinned, ‘morally superior’ individual, you should avoid that Black character.

If the character is either (A) the MC’s moral compass because they are especially good or (B) so morally corrupt that they eventually lead to their own demise, you should avoid that Black character.

*On top of Black characters often being depicted as hypersexual, there is a related issue that is almost the inverse of this: Black characters being hypersexualized, or turned into something to be observed and objectified. Sexual thoughts and actions are thrust upon them even if they are doing nothing to provoke it. In this way, their mere existence is turned into something sexual just because they are a Black person in a Black body. Descriptions associated with their body will—for absolutely no perceivable reason—begin to be described with animalistic language. For example, let’s say, in a book, that every other character smiled or smirked. But then when it gets to the Black character, it’s suddenly, “He grinned wide with his canines showing.”

In media, Black characters seem to live at the extremes of the moral spectrum.

They either live on a holy pedestal or are so far in the trenches of depravity that, at some point in the book, they have to be “put down like an animal” for the greater good of the world (which is so harmful).

In other cases, the MC has to cut all ties with them, showing that the MC has “risen above” their lowliness and corruption (usually in the form of breaking out of an abusive friendship or relationship, breaking a drug addiction, leaving ‘the hood,’ cutting ties with a gang, choosing peace over revenge, etc.).

Regardless of which extreme the Black character exists at, both serve the function of dehumanizing the character. They are pushed into the margins of humanity, either morally above or below the common person. Either way, they have reached a place beyond humanity, somewhere that is usually painted in these cases as hard to sympathize or empathize with. It often makes them two-dimensional and rigid.

Consider the moral compass Black character who will, more often than not, preach forgiveness and love at the most inappropriate times, and is ready to help wash the MC clean of their sins or warn them about what lies ahead on the “dark path” if they so choose it. And for the morally corrupt Black character, they typically spit every negative stereotype about the Black community back into readers’ faces without context, compassion, or tenderness, which is uncomfortable and heartbreaking.

Ultimately, tread carefully—carefully—in your pursuit of diverse voices in your work. If you do not take this venture with deep consideration and caution, you will run into trouble achieving the rich representation you’re aiming for in your writing. However, just caring about having better representation is important in itself.

Representation is a powerful tool that can inspire communities and amplify the voices of marginalized groups across the globe.

Reading is a tool that allows us to expand our minds and explore the world through written word. When we see ourselves represented correctly in texts, it gives us the space to imagine our futures, learn new things about ourselves, and challenge how we view the world around us.

When we see characters like ourselves become the hero of their own stories, it can give us the power to find that courage and bravery within ourselves.

But just like healthy representation can make our dreams and sense of self flourish, inaccurate or incomplete representation can limit our imaginations and impair our ability to know where and with whom we may belong.

Black people have been excluded from and misrepresented in retellings of history for centuries.

Due to hateful societies and racist conditions throughout time, much of Black history has been forgotten, denied, or stolen.

Because of this, traditional methods of research may not always show the full picture.

Sometimes, a story can capture the truth better than a graph.

Alternative Ways to Write Characters and Plots

Write multiple characters from the same group, so there isn’t one token representative. Additionally, people are often friends with those whom they can relate to. So for instance, rather than having a single gay character in a group of straight characters, a friend group might be made up of multiple LGBTQ+ individuals.

Write BIPOC characters who have agency, complexity, and the ability to fight their own battles. Instead of having a white character advocate for, speak for, and fight for people of color, give characters of color the opportunity to speak and advocate for themselves.

Give BIPOC and LGBTQ+ individuals their own character arcs, with their own goals and desires, rather than making their entire lives revolve around white and straight characters.

Run your book by a sensitivity reader. Sensitivity readers will read unpublished manuscripts and give feedback on cultural inaccuracies, biases, and stereotypes.

Don’t make your villain the sole BIPOC person in the entire story. Similarly, don’t make your villain the sole gay character or sole disabled character.

Don’t kill every BIPOC, LGBTQ+, or disabled character. This sends the message that these characters—and by extension real-life people who are members of these groups— are unimportant.

Overall, make sure that your characters are complex, realistic individuals who are not defined by stereotype.

Should white people write about people of color? "If you’re thinking about writing outside your culture and you’re afraid to get it wrong, be honest with yourself. Ask yourself why you want to do it. That’s where you start." (author Malinda Lo).

It takes much more consideration than omitting obvious, familiar stereotypes. Instead of focusing on the fact that you need to ensure that your audience knows the character is not white, focus on their inner lives.

Think of their humanity beyond the constrictions of race as a complete signifier, not as the driving force behind the character’s existence, but a puzzle piece.

If you’re not ready to acknowledge and confront your white privilege, it will certainly cloud the creation of your character.

If you are a white writer and you wish to inhabit the consciousness of a POC, do not base their narrative around noble suffering. Sometimes it’s the seemingly mundane details that make a character feel alive.

When whiteness is the standard in literature, “Otherness” becomes defined by easily available tropes and cliches. When race is involved, many writers cling to the mantra “write what you know.”

More excerpts from Malinda Lo's answer:

Anyone who wants to write outside of their culture has to remember this: Books are personal, and one person’s reaction does not mean that everybody is going to react the same way. In fact, it’s likely that every single reader will have a different reaction.

This doesn’t mean that it’s okay to blithely write whatever the hell you want about a culture that isn’t yours. Writers who are writing outside of their culture do have to work extra hard to research that culture, because they have much farther to go to get to the kind of instinctual knowledge of it that allows someone to hear my Chinese name and feel that it sounds poetic.

Writing outside your culture is a complicated endeavor that requires extensive research, being aware of your own biases and limitations, and a commitment to delving deeply into the story. However, writing any fiction requires this. There are no shortcuts to writing fiction truthfully and well. There really aren’t. The writer must put in the time so that they become confident in their decisions, and there are a million and one decisions to make when writing a novel.

If you’re a white writer who wants to write about a culture not your own, go for it. There’s no reason you shouldn’t do it. Some people will prefer that you don’t, but those people don’t speak for everyone. On the other hand, if you’re terrified of writing outside your culture, you don’t have to. There’s not necessarily any reason for you to do something that makes you that uncomfortable. I believe that writing is a personal thing, and you should write what you personally want to write.

Sources: 1 2 3 4 5 6 7 ⚜ More: References ⚜ Writing Resources PDFs

Thank you for your lovely words. I'm not exactly the best person for this question, so here are some references I found for you. Learned a lot from these as well, so thanks for the request. Hope this helps with your writing!

[wittyworm]

The linktree is live! @lovingthyneighbor was put together by me and my sister

We are going to be spreading stickers of these all over my town. a lot of people don't know what is happening in the world aside from what they see on the news. so i created a concise list of resources including videos and ways to help out, i want to help give people a better understanding of how it effects them and their neighbors.

I myself am Afro Boricua , and I live in a mostly Latino populated area aside from heavy tourism. It is important that we learn from our history. people think it cant happen to them, but it already has.

if you think this will be helpful to you and your neighbors, feel free to use the link and the QR code and the art yourself! no credit needed. lets get educated !

#Landback

[militantinremission]

Did Fat Joe show his Whole Hand?

Safe to say that Jose Cartagena has been an outspoken HipHop Revisionist. In recent Years, Joe along w/ John Leguizamo & Crazy Legs have been offering their narrative on who created HipHop Music & Culture. The Pioneers have stepped to the Mic & set The Record straight on WHAT happened, WHEN it happened, & WHO was there. Fat Joe, like KRS One is caught in a contradiction. Kris is actually 'Of The Culture', so he has a Lane available to say: mea culpa & come back into the Fold. Joe on the other hand, didn't respect his place as a Guest in the House of HipHop- as a result, he's getting his privileges revoked. I appreciate the degree that Joe chose to Stand on his Square, because it reminded many of Us of previous Bad Behavior.

In his Barbershop interview w/ Math Hoffa, Fat Joe had a few cringe moments. He disrespected Lord Jamar by saying that he was a 'Looney Tune looking to go viral', & called him the 'wackest member of Brand Nubian'. That said, his most cringe worthy statement had to be referring to FBA as a 'Radical Black Hate Group' that only wants to associate w/ their Own. He defined FBA as: 'Foundational Black Authority', & called Our Lineage 'a bunch of broke N-s'... Black Alpha, Lord Jamar, Phil Scott, & Jason Black were among the first to respond; All pointed out his White Supremacist Talking Points. If we're being honest, Joe sounded like a straight up Conquistador.

As We come to the End of Our 'Year Of Affirmation', We find Ourselves Standing firmly on Our Convictions & calling out ANYONE that questions them. Fat Joe, like many others who were allowed access into Our Culture are discovering an unexpected Reality- Houseguests don't get House keys. These Folks have been given so many passes over so many Years, that they actually believe that they KNOW Us. This is the same Story, from Michael Rappaport to Drake & Cardi B. Fat Joe's tantrum was ill timed; Our Collective Antennas were up, & Everyone heard the same language. Black Alpha in particular, pointed out how Joe wasn't even talking about HipHop anymore... This thing has many layers.

We all see that this attitude towards Indigenous Black Americans is nothing new. We know the History of the Immigrant Experience in America; the Ethnicity changes, but their actions are too similar to just be a coincidence. We saw it w/ the Irish, Italian, & Eastern European (Slav & Askenazi); now We see it w/ 'Black & Brown' Immigrants. The Black- Latino Dynamic is complicated, because Hispanic/ Latino Culture is rooted in Colorism (Blanqueamiento). Their Society is divided by how close one is to their 'Castilian Roots'. How does someone aspire to Whiteness in an Area where folks are 'Black & Proud'? When We look at Latin American Leaders like Fidel Castro & Hugo Chavez, who touted their Afrikan Roots & included Afro- Latinos in the Body Politic, We see how they were demonized as Bad Men.

ALL of their predecessors kept the Afro- Cuban & Afro- Venezuelan Population in a State of Poverty & Oppression. It's clear that the 'Blanco' contingent preferred the leadership of Fulgencio Batista (Zaldivar), Ramon Jose Velasquez, & Rafael Caldera Rodriguez. We need to look no further than Miami, where folks like Gloria Estefan are STILL lamenting the Cuban Revolution. Fat Joe glossed over 'Radical Puerto Rican Extremists' as he focused on FBA, but can We call it 'Extremist Behavior' when The Majority of The Population practices it at Home, & bring it w/ them when they Immigrate Here? Black People aren't respected in Hispanic/ Latino Culture, they're victimized. Latino Police Officers can be more Anti- Black than Irish & Italian Officers; certainly more aggressive towards Blackfolk. Again, Joe is silent on this Note.

As I said, this thing has layers. In the same way that Great Britain left the door open for America to step in & assume the role of Dominant World Power; AmeriKKKa is leaving the door open for Hispanics/ Latinos to hold the reins of Power over Black America- as long as they acknowledge their Position in White Supremacy. In the same manner that Whitefolk & Azkenazis assumed Ownership of Jazz, Big Band, Country, & Rock N Roll; Latinos think that they can assume Ownership of HipHop. They were successful in taking 'Tango' from the Afro- Argentinians that created 'The Forbidden Dance', but We're a Lineage of Fighters! If we're being honest, We have to acknowledge how the Latino influence on HipHop has done more harm than good. Stand Outs, like Mantronix & Immortal Technique are revered as Legends in The Game. Super Lover Cee & Casanova Rud also deserve an honorable mention. Now I could be wrong, but I haven't heard ANY of them side w/ Fat Joe.

Joe has been on many Platforms trying to push his narrative. He has emboldened other Puerto Ricans (Nuyoricans) to chime in on 'Out Of State' Cats speaking on something that started in NYC. Content Creators point out how HipHop may have been BORN in NYC, but was CONCEIVED in The South. Jason Black & Black Alpha point out the cultural differences between Us & Non ADOS/ FBA Communities, & how little they know about Our Lineage. First off, the Slave Experience in AmeriKKKa affected Us differently than it did those in Latin America & the Caribbean. While they exhibit Tribalism & Colorism, We exhibit Unity. From the East Coast to the West Coast, & from the Great Lakes to the Gulf- Blackfolk are an Extended Family. Those of Us in the Northeast & Out West tout Our Southern Roots like a Badge of Honor. We are the Descendants of those who survived AmeriKKKa's Killing Fields. Immigrants don't have that experience, & therefore can't truly understand what motivates Us Culturally.

Another clear cultural difference between Us & Non ADOS/ FBA Ethnicities, is how We deal w/ White Supremacy. We have a Global Reputation of fighting White Supremacy, no matter where it exists. As a Collective, Immigrant Groups tend to be Anglophiles; They aspire to Whiteness. They 'Get In where they Fit In', & that classically means harboring Anti- Black Sentiment. Fat Joe & Busta Rhymes aren't exceptions, but typical examples of how these people move. They Rock w/ Us- copying Our 'cultural mannerisms', until they get a 'Come Up'; then they shift to White Supremacist Talking Points & Anti-Black Sentiment. Busta thought he 'Made It', & began an onslaught of disrespectful opinions regarding Black America. He began w/ disenfranchising Blackfolk from HipHop, & went on to say that 'American Culture' comes from Latin America & The Caribbean. The Man had a much anticipated World Tour scheduled, but the backlash from ADOS/ FBA has led to Investors pulling out & the Tour being Canceled. This Tour was supposed to solidify Busta's Legacy, but he's been reduced to doing a wacky Walmart Commercial... Safe to say that he made a misstep.

As bad as Busta has been, Fat Joe has been worse. He admits that he's "the product of The Product", but somehow believes that he knows about Events that happened before he was born. His arrogance has revealed an Anti- Black Racist sentiment that is pretty common among his people. Content Creators have pointed out Joe's excessive use of The N- Word, & how he ignored pleas from his Fans to stop using it. As a Native New Yorker who spent his Formidable Years in Spanish Harlem, then lived in Bushwick for 4Yrs & Inwood for 5Yrs- I can say w/ certainty that NO ONE uses the N- Word more than Hispanics/ Latinos. Dominicans top The List, but Puerto Ricans & Cubans aren't far behind them. Caribbean Folk are also pretty frequent w/ their use of the N- Word; is it a coincidence that many of the Rappers spewing this word aren't 'From The Soil'? Regardless, what We are witnessing, is a clear effect of Delineation. As We Circle Our Wagons, the Opportunists (i.e. Tethers) are getting nervous. They depend on Us believing in 'Coalitions' that benefit them to Our detriment. Times have Changed! These folks no longer have Us to lean on for Financial, Social, or Political Support. Since these people believe they're Superior to Us, they should have No Problem w/ Going it Alone in the 'Wilderness of North America'.

-As I said before, They better get used to The New Normal.

[thottyoptimusprime]

There are white Latinos. Prominent white Latinos would like yall to stop saying the entirety of Latinos are mixed, especially afro and indigenous Latinos who are continously oppressed and scrutinized by white or mestizo Latinos. Randomly saying whitinos don't exist doesn't stop them existing. Especially when they make up the media and politicians. Also you tagged this Americans need to stop thinking race equal skin color. And the same argument was happening in the Twitter thread, ethnicity and race are 2 different things. Also you brought up Carlos, i didn't name drop him in the post and was mostly talking about Rafael and characters that stayed in the background.

So I love transformers everyone who  knows me knows this. And when Transformers Rise of the Beasts came out I enjoyed it immensely. Me and a friend were talking about finally some black people, finally some culture in this franchise. But I didn't post about it because i knew I would get whytes in my mentions like this.

Not only are they comparing these characters, but they are pulling a bunch of whataboutism. "Miko was in Transformers Prime, so there has been POC" ok...we can't have more? Also OP brought up specifically black characters. Every character brought up to try to bring down the positivity of the post was either an asian character or a whitino as if that should be enough, we should be satisfied with that one POC in a franchise that's existed since the 80s.