#honky and sambo
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x-heesy ยท 2 years ago
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๐Ÿฅฐ๐Ÿ˜‚๐Ÿฅฐ๐Ÿ˜‚๐Ÿฅฐ๐Ÿ˜‚๐Ÿฅฐ
๐—ฃ๐—จ๐—ฅ๐—ฅ๐—™๐—˜๐—–๐—ง ๐—œ๐—ฆ ๐  ๐— ๐—ฌ๐—ง๐—› / ๐—œ๐—งโ€™๐—ฆ ๐  ๐—ง๐—ฅ๐ ๐—ฃ / ๐—•๐—ฅ๐—˜๐ ๐—ž ๐—™๐—ฅ๐—˜๐—˜ / ๐—ค๐—จ๐—˜๐—ฆ๐—ง๐—œ๐๐—ก ๐—˜๐—ฉ๐—˜๐—ฅ๐—ฌ๐—ง๐—›๐—œ๐—ก๐—š / ๐—–๐—›๐๐๐—ฆ๐—˜ ๐—ช๐—œ๐—ฆ๐—˜๐—Ÿ๐—ฌ / ๐—ช๐—˜๐—œ๐—ฅ๐—— ๐—œ๐—ฆ ๐  ๐—–๐๐— ๐—ฃ๐—Ÿ๐—œ๐— ๐—˜๐—ก๐—ง / ๐—ก๐๐—ง๐—˜ ๐—ง๐ ๐— ๐—ฌ๐—ฆ๐—˜๐—Ÿ๐—™ / ๐—ฌ๐๐—จ ๐ ๐—ฅ๐—˜ ๐—ง๐—›๐—˜ ๐—ฅ๐๐ ๐—— /๐—ง๐—›๐—˜๐—Ÿ๐—œ๐—ง๐—ง๐—Ÿ๐—˜๐—ง๐—›๐—œ๐—ก๐—š๐—ฆ๐ ๐—ฅ๐—˜๐—ง๐—›๐—˜๐—•๐—œ๐—š๐—ง๐—›๐—œ๐—ก๐—š๐—ฆ / ๐— ๐—ฌ ๐—–๐—ฅ๐—˜๐——๐ / ๐—Ÿ๐๐—ฉ๐—˜ & ๐—Ÿ๐—˜๐—ง ๐—Ÿ๐๐—ฉ๐—˜ / ๐—Ÿ๐—œ๐—ฉ๐—˜ & ๐—Ÿ๐—˜๐—ง ๐—Ÿ๐—œ๐—ฉ๐—˜ / ๐—ž๐—˜๐—˜๐—ฃ ๐—œ๐—ง ๐—ฆ๐—œ๐— ๐—ฃ๐—Ÿ๐—˜ / ๐—ž๐—˜๐—˜๐—ฃ ๐—œ๐—ง ๐—ฅ๐—˜๐ ๐—Ÿ / ๐—ฉ๐—˜๐—ง๐ / ๐—ฅ๐—œ๐—ฆ๐—˜๐—ฅ๐—˜๐—•๐—˜๐—Ÿ๐—ฅ๐—˜๐—ฆ๐—œ๐—ฆ๐—ง / ๐— ๐๐๐—— ๐—•๐๐ ๐—ฅ๐—— /๐—ฃ๐—จ๐—ก๐—ž๐—ฆ๐ ๐—ฅ๐—˜๐—ก๐—ง๐——๐—˜๐ ๐—— โ€‹/ ๐—ก๐ ๐—š๐๐——๐—ฆ ๐—ก๐ ๐— ๐ ๐—ฆ๐—ง๐—˜๐—ฅ๐—ฆ / ๐—ฃ๐—ฅ๐ ๐—Ÿ๐—œ๐—™๐—˜ ๐— ๐—™๐—ญ / ๐—˜๐—ก๐—˜๐—ฅ๐—š๐—ฌ๐—ฆ๐—จ๐—–๐—ž๐—˜๐—ฅ๐—ญ ๐—ก๐๐—ง ๐—ช๐—˜๐—Ÿ(๐—Ÿ) ๐—–๐—จ๐—  / ๐—ง๐ ๐ ๐—Ÿ๐—Ÿ ๐—ง๐—›๐  ๐—Ÿ๐—จ๐—ฉ๐ ๐—ญ ๐Ÿถ
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Soundtrack: Rudeboi by Honky and Sambo
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quoteoftheweekblog ยท 4 years ago
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QUOTATIONS - ERIC JEROME DICKEYโ€™S โ€˜MILK IN MY COFFEEโ€™ (FIRST PUBLISHED 1998)
First sentence:
โ€˜Before I could make it to the 42nd Street station in Times Square, my damn fingertips were aching.โ€™ (Dickey, 1998, p.11).
On black and white:
โ€˜White people always had it made, then complained about it.โ€™ (Dickey, 1998, p.27).
โ€˜The way I was raised, I was taught to believe the white man always had a secret agenda.โ€™ (Dickey, 1998, p.46).
โ€˜The bottom line was that we were from the South. Bad feelings about cultural mixing ran deep in our veins: was injected into our system nine months before we were born.โ€™ (Dickey, 1998, p.69).
โ€˜ โ€œIf you go white, stay outta sight. โ€˜Cause once youโ€™ve dissed black, ainโ€™t no coming back.โ€ โ€˜ (Dickey, 1998, p.69).
โ€˜Whigger meant white nigger, somebody white trying to act negro. A fake, a fraud, a cultural thief.โ€™ (Dickey, 1998, p.92).
โ€˜ โ€œWhite folks ainโ€™t nothing but trouble.โ€ โ€˜ (Dickey, 1998, p.162).
On New York:
โ€˜All New Yorkers walked like they had shit to do and were ten minutes late to do it. Even when they didnโ€™t have a damn thing to do.โ€™ (Dickey, 1998, p.44-5).
โ€˜People think that just because you live in New York, your finances must be the best and you have it made in the shade. New York is expensive; you have to make a middle-class salary just so you can afford to live in the sections that donโ€™t have rats the size of cats.โ€™ (Dickey, 1998, p.101).
On slang names for black:
โ€˜ โ€œIโ€™m not a nigger, Iโ€™m a Negro. When I become a nigger Iโ€™ll let you know.โ€ โ€˜ (Dickey, 1998, p.181).
โ€˜Then there were the names Iโ€™ll never forget - Yellow Banana, Albino Coon, Ghost Nigger, Black Honky, Pale Face, White Nigger.โ€™ย  (Dickey, 1998, p.245).
โ€˜She was always told she was too black. Was called Ju-Ju, Tar Baby, Sambo, Pygmy, and a hundred other disrespectful names she remembered all too well.โ€™ (Dickey, 1998, p.299).
โ€˜ โ€œIf her dadyโ€™s a pumpkin-skin, then sheโ€™s a quadroon or a quarteron, whatever they call it.โ€ โ€˜ (Dickey, 1998, p.302).ย 
On life:
โ€˜On an overcast day like today, it took away some of lifeโ€™s chill to be given a few lines of dialogue filled with sunshine.โ€™ (Dickey, 1998, p.83).
โ€˜Right now Iโ€™d give all of this crap up for a summer breeze and a chance to dance in an open field filled with four-leaf clovers and dragonflies.โ€™ (Dickey, 1998, p.86).
โ€˜ โ€œWine will be fine.โ€ โ€˜ (Dickey, 1998, p.199).ย 
โ€˜Even when you knew the difference between right and wrong, sometimes you just didnโ€™t give a fuck.โ€™ (Dickey, 1998, p.295).ย 
On the Klu Klux Klan:
โ€˜I looked out the window. Saw the darkness in the woods. Thought about burning crosses. Thought about the term people used to use, โ€œstange fruit.โ€ That was what they called brothers they found hanging in trees. Stange fruit.โ€™ (Dickey, 1998, p.186).
REFERENCE
Dickey, E. J. (1998) โ€˜Milk in my coffeeโ€™. Amazon.com [E-book]. Available at: https://www.amazon.co.uk/Milk-Coffee-Eric-Jerome-Dickey-ebook/dp/B000OCXI4E/ref=sr_1_1?dchild=1&keywords=eric+jerome+dickey+milk+in+my+coffee+kindle&qid=1614006649&s=books&sr=1-1 (Accessed 22 February 2021).
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killerscartv ยท 4 years ago
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Love Thy Neighbour (Full TV Series) 1972 - 1976
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A British television sitcom broadcast from 13 April 1972 until 22 January 1976. The series spanned eight series and 53 episodes (plus an unaired pilot included here). The principal cast consists of Jack Smethurst, Rudolph Walker, Nina Baden-Semper, and Kate Williams. In 1973, the series was adapted into a film of the same name, and a later sequel series was set in Australia. Created and largely written by Vince Powell and Harry Driver, and was based around a suburban white working class couple (Eddie and Joan Booth) in Twickenham and a black couple (Bill and Barbie Reynolds) as next-door neighbours. One of the leads, Rudolph Walker, who played Bill Reynolds, wrote for The Guardian in 2001, it is about "a black guy and a white guy being damned stupid" The theme song, "Love Thy Neighbour", was composed by Mack Gordon and Harry Revel and sung by Stuart Gillies. Since 1972, when Love Thy Neighbour was first transmitted, it has been criticised for its politically incorrect handling of issues of racism, it was made in an era when Britain was perceived to be struggling to come to terms with mass immigration. Its writers stated that each episode included both anti-white and anti-black sentiment, in this "mutual racism", racist attitudes were "shown as a reciprocal, inevitable and petty process". The views of the main white male character (Eddie Booth, played by Jack Smethurst) were presented so as to make him appear ignorant and bigoted and were contrasted with the more tolerant attitude of his wife. "In nearly every show, the white neighbour was shown to be wrong", Rudolph Walker wrote in 2001. The main male black character (Bill Reynolds, played by Walker) was better educated, although also stubborn and capable of using insulting phrases, such as the terms "Honky", "Snowflake", "Paleface" or "Big White Chief" to describe his white neighbour (often in response to being called "nig-nog" or "Sambo"). The comedy invariably fixated on the "Blackness" of Bill and Barbie or rather, "television's interpretation of Blackness (limbo-dancing, voodoo/Black magic)." Repeats of Love Thy Neighbour have not been seen on British terrestrial television for many years. Rudolph Walker, who defends the series, regrets the programme's reputation in a "very politically correct climate" and asked in 2003 why "We can't take the piss out of each other and laugh".
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indierapguysmm-blog ยท 7 years ago
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"There ain't no fuckin with the squad." Honky and Sambo is Simon Roofless of Goldminerz and Skits Vicious of Dope D.O.D. USA and Europe coming together on this one.
If you're feeling this, give it a share. Check out more over here. https://www.facebook.com/indieraps/
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x-heesy ยท 2 years ago
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๐—›๐—จ๐—ฅ๐—ฅ๐ ๐—ฌ ๐—œ๐—งโ€™๐—ฆ ๐—™๐—ฅ๐—œ๐——๐ ๐—ฌ
๐——๐—˜๐—˜๐—ฃ๐——๐ ๐—ฅ๐—ž๐ ๐—ก๐——๐——๐ ๐—ก๐—š๐—˜๐—ฅ๐๐—จ๐—ฆ
๐—ฆ๐—œ๐—–๐—ž ๐—ก ๐—ง๐—ช๐—œ๐—ฆ๐—ง๐—˜๐—— ๐ŸŽง
๐— ๐๐๐—— ๐—•๐๐ ๐—ฅ๐——
๐—›๐—˜๐—Ÿ๐—Ÿ ๐—ฌ ๐ ๐—ฆ๐—ฆ
๐—œ ๐ ๐—  ๐  ๐——๐ ๐—ก๐—–๐—œ๐—ก๐—š ๐—ฆ๐ ๐—ก๐——๐—ช๐—œ๐—–๐—› ๐ŸŽง๐Ÿ’ƒ๐Ÿฝ๐Ÿ•บ๐Ÿผ๐Ÿชฉ๐Ÿš€๐Ÿ’ฅ
๐—š ๐ ๐—— ๐—œ ๐—ฆ ๐  ๐—— ๐—
ฮ“ะฏะ”CาœะคFฮ“HฮžDะ”ะฃ
#panicdynamicpandemic #trackoftheday #gifattack #gifmania #moody #edm #electronicmusic #shakewhatyamamagaveya #raaaaven #electroshockboogie @kattywompuss #dancemfdance #partymusic #lostinmusic #thankslordfortrapmUsick
Rudeboi by Honky and Sambo (dope dod)
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๐——๐—˜๐—˜๐—ฃ๐——๐ ๐—ฅ๐—ž๐ ๐—ก๐——๐——๐ ๐—ก๐—š๐—˜๐—ฅ๐๐—จ๐—ฆ
๐—ฆ๐—œ๐—–๐—ž ๐—ก ๐—ง๐—ช๐—œ๐—ฆ๐—ง๐—˜๐—— ๐ŸŽง
๐— ๐๐๐—— ๐—•๐๐ ๐—ฅ๐——
๐—›๐—˜๐—Ÿ๐—Ÿ ๐—ฌ ๐ ๐—ฆ๐—ฆ
๐—œ ๐ ๐—  ๐  ๐——๐ ๐—ก๐—–๐—œ๐—ก๐—š ๐—ฆ๐ ๐—ก๐——๐—ช๐—œ๐—–๐—› ๐ŸŽง๐Ÿ’ƒ๐Ÿฝ๐Ÿ•บ๐Ÿผ๐Ÿชฉ๐Ÿš€๐Ÿ’ฅ
ฮ“ะฏะ”CาœะคFฮ“HฮžDะ”ะฃ
#panicdynamicpandemic #trackoftheday #gifattack #gifmania #moody #edm #electronicmusic #shakewhatyamamagaveya #raaaaven #electroshockboogie @kattywompuss #dancemfdance #partymusic #lostinmusic #thankslordformusick
Rudeboi by Honky and Sambo
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x-heesy ยท 4 years ago
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Ed Harrington (nothinghappenedtoday)
I mostly draw comics at night. Mostly. edharringtonillustration.com
https://www.neatoshop.com/artist/Ed-Harrington
Soundtrack: Engineers by Honky and Sambo
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lennys tattooer
Tattooartistโ€”โ€”โ€”โ€”โ€”โ€”โ€”โ€”โ€”โ€”โ€”โ€”โ€”โ€”โ€”โ€”โ€”- trashpolka/watercolor/sketch โ€”โ€”โ€”โ€” @underskin.tattoo โ€”โ€”โ€”โ€”โ€”โ€”RESIDENT๏ฟฝ๏ฟฝโŒโญ•๏ธโค๏ธ๐Ÿฉธ๐Ÿ”ด
www.facebook.com/lennystattooer
#lennystattooer #art #bolognatattoo #worldtattoo #tattooartist #trashpolka #tattootrashpolka #tattoos #tattoo #bolognatattoo #trashpolka #grafictattoo #realistictattoo #tattooworld #ink #trashpolkatattoo #tattoosnom #blxckink #tttpublishing #txtattoo #tattooaddict #skinart_mag #theartoftattoos #thinkbeforeuink #bolognatattoo #traspolkatattoo #abstractart #painting #winered #watercolortattoo #trashpolkatattoos #watercolortattoos #watercolor
https://song.link/s/53c557yLvDPZpuVeUmnx7P
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Credits above
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https://song.link/s/4cOm1Zy5XjvMtb3JIoKvGm
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https://song.link/s/4SSGzgzl3t4mGeoBlqC7RK
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https://song.link/s/53c557yLvDPZpuVeUmnx7P
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https://song.link/s/1RCyckXyFJrXb3r5BadvUZ
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https://song.link/s/53c557yLvDPZpuVeUmnx7P
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Tush Magazine
BEAUTY CULTURE ๐Ÿ‘„ from the newsstand to your screen, biannual in print, digital daily.
TUSH 47 - OUT NOW!
tushmagazine.com/TUSH-Makeup
Soundtrack: Engineers by Honky and Sambo
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Rob Bowyer aka massiveface
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xenia valevskaya ๐Ÿ‡ท๐Ÿ‡บ
makeup and visual artist
based in MOSCOW/available worldwide
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