being a carefree black girl has nothing to do with actually having no cares. to me it literally just means being alive and carving out tiny pockets of happiness and freedom in this shitty ass society that is trying to mentally destroy you for existing.
Showing posts tagged with “being black”
pennyforapound asked: Lemme find out some guy in London is giving you grief about being black in America. If I had a Kanye West gif for 'can't tell me nothin', i'd use it right. now.
thanks, homie. but no worries, i shut him down. apparently his trademark is getting sloshed at social gatherings and provoking others into conversations he spends talking over everyone else, but this was my first time meeting him so i was caught off guard. the stuff he was saying and his beliefs were so ludicrous that it would’ve been hilarious if it didn’t piss me off so much. the most shocking part is that i’m 95% sure it wasn’t even the alcohol talking and he really believes every condescending thing he was spouting off. and then had the nerve to say, “i don’t mean you, obviously.” oh, really? so you just mean everyone else i know and love who happens to be black and identifies as american. got it. just generalizations left and right. surefire way to irk me.
anyway, when he wasn’t dominating the conversation, other discussion was really eye-opening and insightful: how often black americans claim america and how often black brits don’t claim britain/the uk, the experiences of first generation black british, african continent vs. caribbean culture, the division amongst all the diasporic countries and islands that are represented in the uk, the neverending i do/don’t see color debate, ignorance vs. racism. good stuff.
My parents raised me in a predominantly white suburb of a black city, but it was the Latin culture that taught me. My first words, my mother’s food, my grandma’s counsel, my grandpa’s stories, my father’s song, my manipulative manners, my sister’s eyes, our irreverent whispers in church, the old man that gave me candy, the young man called Piraña, who had very large teeth who showed up every 4 months- stayed for a couple hours and left everyone in the house screaming with laughter. All these things… were so very Latin.
I also grew up enveloped in black. Growing up so close to Washington D.C., it was inevitable. From my best friends to my favorite songs; from first loves to lost ones. These things that encircled me from my baby face to my awkward age and carried me to adulthood were the standard for me - a Latina growing up in a white suburb of a black city that did not know she was anything else but Latin.
3 years ago I found out that my great-great grandfather was black. My grandfather was brown, tall and slender with light blue eyes. His grandfather was an African man that came to Colombia and stayed for a while. Somehow this heritage was hidden underneath the shades between white and black. It got pushed more towards white and less towards black, until lines blurred and although I am Latina, I am covered in white. Just like my suburb, just like my face, I am not what is exposed.
Puerto Rico is an island made up of a vast hybridity of people including: African, Arab, Native In- dian, and European. This island also happens to be the capital of the world for Albinism. There are layers upon layers that make up how alibinism manifests physically, inside and out. Albinism is not just white on this island, its black too. There are people who have the condition of albinism, but do not display the physical characteristics commonly known of a person with albinism. They have normal pigmentation, dark eyes and hair. They are black, white and everything in be- tween, and they are all people with albinisim.
The blackest person with the condition is still white, and the whitest person with albinism is still black. Because of the genetics of the people that make up this place, everyone is black, but not everyone is white. One word cannot embrace the whole of my identity. My make up lies in a million things that cover me and when unveiled are clear as black. (via)
carefree black girls
quiet black girls
hood black girls
headbanger black girls
shy black girls
fearless black girls
hotheaded black girls
stubborn black girls
spiritual black girls
introverted black girls
independent black girls
slutty black girls
asexual black girls
hyper-feminine black girls
potty-mouthed black girls
bald black girls
cute black girls
squeaky voiced black girls
b l a c k g i r l s
Look, I’m glad ‘12 Years [A Slave]’ got made and it’s wonderful that people are seeing it and there is another view of what happened in America. But I’m not real sure why Steve McQueen wanted to tackle that particular sort of thing.
[‘Fruitvale Station’] explains things like the shooting of Trayvon Martin, the problems with stop and search, and is just more poignant. America is much more willing to acknowledge what happened in the past: ‘We freed the slaves! It’s all good!’ But to say: ‘We are still unnecessarily killing black men’ – let’s have a conversation about that.”
Samuel L. Jackson (via artyartyhadaparty)
I think in light of 12 Years a Slave winning the Oscar for Best Picture, this needs to be remembered. Because it is a very important point in terms of the palatability of 12 Years a Slave and why Fruitvale Station didn’t even get nominated when it has such acclaim outside of the Oscar world.
THANK YOU SAM JACKSON
this is important. don’t get it twisted, don’t be fooled. i’m elated for the cast and crew of 12 years a slave as well as lupita, but america remains 10,000 steps behind when it comes to race. these wins (and no oscar wins before it) do not equal “progress.”
also i think the reasoning behind steve wanting to tackle it doesn’t really matter; both films should’ve been nominated.
Belle will be released in the US on May 2.
Why did you decide to go the route of the Austenesque romance to tell her story?
In so many ways, it’s a romantic love story and it’s a paternal love story as well. It’s as much about her and [her surrogate father] Lord Mansfield, and also the fact that her biological father loved her as well.
It was much more practical in those days, if you had an illegitimate child of color, you could bring them into the household but had to keep them in the servant’s quarters, and have them work with servants where they’d be safe but wouldn’t be a full part of the family. The fact that her father decided that he didn’t want her to be brought up that way and brought her to his uncle [Lord Mansfield] and said, “Love her as I would had I been here,” was important to me.
When I did the research, it surprised me how many people had left Dido money in their will — Lord Mansfield left her money in his will [and] Lady Mary, Lord Mansfield’s sister, also left Dido in her will. The reality of it, then, was that so many people clearly [and] on paper showed their love for Dido that I thought it would have been disingenuous for me to tell a story purely about her suffering and a story that wasn’t about her love.
She had great love. That she married John Davinier, that she was able to baptize all of her children with him in the same church that they married in, I found that that was very romantic and beautiful.
I also wanted to understand, or communicate to the audience, what kind of men would love Dido during this period. Lord Mansfield, who adopted her, and also John [her husband] — what would make them so brave and so courageous enough to be able to love this woman of color during that period?
If I’m honest, I wanted to show a woman of color being loved. We don’t see it that often. I wanted to change the conversation a little bit, change the dialogue a little bit — we are loved, [and] we can be loved. Dido was valuable enough to be loved, she was worthy of being loved, and she was loved. Her challenge was showing people the right way to love her in the way that she needed to be. MORE
Switching gears a bit, how did you make that transition from acting to directing?
I had been writing and producing for quite a while in British television. I wanted to circle my screenplays around some of the things that we’ve discussed — race, gender, and class — and I wasn’t sure that TV was the right place for me to do it.
I had written my first script, A Way of Life — which, thankfully, went on to do quite well critically, and won me a BAFTA and lots of other international awards — and I was very protective of it.
One day, one of my funders at the BFI called me in and said, “Hey. I know you would really like to produce this movie, and that’s all very well, but actually we’d love you to direct it.” I sort of shrunk back into the sofa and said, “No, no. That’s not something I can do. I’m a writer. What I do is write, and this is the best thing I’ve ever written to date, and I don’t want to be the person who ruins it by trying to direct it. This movie is my baby and I’m not going to kill it!”
They were very adamant and said, “Look. You’re not going to kill your movie. We’ll send you to film school for a month” — like a month of film school, what’s that? — “And we’re going to give you some money so that you can shoot a pilot of the movie. We want you do a couple of scenes so you get used to getting behind the camera then we want you to go off and make a movie.”
It took about a month to convince me, to get the courage to accept the offer. Off I went to film school and had one-to-one training with cinematographers, other directors, and editors — I literally had one to one time with all of the heads of department that you’ve have on a real movie, then I went off and shot a pilot. Then I thought, “Wow, I really like this.” Being able to create the characters and then see it through, it felt like, this is what I was born for.MORE
I almost teared up just reading her thoughts on showing Black women being loved.
The bold, the bold.
the bold and the fact that someone pushed her to direct, was adamant and let her take her time in deciding, and then hooked her up with personalized instruction. FEELS.