#The Negro Project

[sir20]

Light entry by sir20

[the-unrexplained]

For Black History Month this year I decided to watch a few impactful documentaries and movies representing the ART that is US. IThe struggles and the joys of Black lives. This is IMPACT and This is REFLECTION.

In no particular order:

Donyale Luna: Supermodel

Love to Love You, Donna Summer

Little Richard: I Am Everything 

I Am Not Your Negro

Brother Outsider: The Life of Bayard Rustin

In Our Mothers' Gardens 

The Black Godfather

Toni Morrison: The Pieces I Am

Mavis

Quincy

TINA

Miles Davis: Birth of the Cool 

See It Loud: The History of Black Television

Is That Black Enough for You?!?

Going to Mars: The Nikki Giovanni Project 

The Last Black Man In San Francisco

Dionne Warwick: Don't Make Me Over

Ma Rainey's Black Bottom

Ma Rainey's Black Bottom: A Legacy Brought to Screen

What Happened, Miss Simone?

Roxanne Roxanne

BILLIE

The Forty-Year-Old Version

The Perfect Find

Get On Up

Rye Lane

Rustin

[msclaritea]

I hate to have to say this, because I loved that show as a kid. It was black comedy. At last! Too bad it was always tainted. The Cult of Scientology were very likely behind the In Living Colour Show, just like their connections to That 70s Show.

Nearly every member has now been used in some sort of toxic propaganda.:

Jennifer Lopez, 2nd generation COS, marrying whathisface

Marlon Wayans, joining other celebrities, in using his children to promote the Trans ideology

Jim Carrey, a Sexi pest and creep, who now keeps trying to start his own cult, when not stalking college girls

David Alan Grier, this Magical Negro crap

Other connections, are one of the producers, Angel Lopez of Pulse Music. He's worked with Kanye West, who has arguably been subjected to brainwashing. He's worked with Sam Smith. No need to say a thing about his behavior, lately and how drastically he changed. Lopez has Also worked with Coldplay. Chris Martin of Coldplay was married to Gwyneth Paltrow, who is involved with Honeypot operations, now. There's more. Ex-employees of Chris Martin started the charity, Choose Love, which has been accused by Corporate Watch, of abuse of its employees and a lot of irregularities around how they operate. The phrase, Choose Love is a reference to a quote by Satanist, Aleister Crowley, who Ron L Hubbard worshipped.

The Cult of Scientology and their partners at the BBC are engaging in spraying harmful portrayals of black people, women and yes, even LGB, in our faces. What they're doing is psychologically harmful, socially devastating and CRIMINAL.

#MagicalNegro #universalstudios #FocusFeatures #BlackOps #scientology

[sizwezwane]

the sheds

[mixamorphosis]

This is a mix from around 2010. I've given the cover a refresh, I think this looks a lot better than the original version. Although the title has not sat very well with me, really since I originally posted it. I think the title came about due to the fact that around that time I was also playing around with a lot of tech house, electro and much more uptempo house in general, so the vibe on this felt more chilled. Clearly it's not, it's quite dancefloor friendly, but just a different kind of dancefloor.

I still think back to Kirsty Pemberton, who's gone on to do a lot in terms of playing out and invovlement with labels etc, leaving a comment on my original upload, along the lines of 'I sat down to listen up, but had to get up to dance'. I don't think I've ever come across someone with such a depth and breadth of music knowledge, so that was most definitely a highlight in terms of comments received over the years.

So, sit down, stand up, jog, dance, whatever takes your fancy. The name's just a name.

Linked tracklist [HERE]

Download [HERE]

Tracklist

Cecile - Sweetness 86 (Gomma) Space System - Master Of The Sky (Heels Of Love Mix) (Pizzico Records) Trickski - Pill Collins (Suol) LF/LB - Faded Lady (Linny's Moussaka Mix) (Freshit Recordings) Spandau Ballet - True (No Request's Re-work) (Not On Label) Havana Candy - Lost In Space (HCR) Joey Negro pres. Kola Kube - Why? (Joey Negro Block Party Edit) (Z Records) Tal M. Klein pres. The Disco Builders - Alone (Aniligital) Apiento & Co. - She Walks (Leng) Boogymann - Ride On (Superhuit) Craig Bratley - Birdshell (6th Borough Project 'Shell Toe' Remix) (Instruments Of Rapture) The Chi-Lites - We Need Order (No Request's Re-work) (Not On Label) Alan Parsons Project - I Wouldn't Want To Be Like You (Beatconductor Re-work) (Spicy) George Benson - Give Me The Night (A.C. Edit) (Not On Label)

[onenettvchannel]

BALITANG LOKAL: Authorities probe foreign involvement in Dumaguete's 174-hectare Reclamation Plan, leading to arrest 5 Chinese nationals says the NBI [#OnlyOnOneNETnews]

(Written by Anya Forger / Editorial Intern of TXN News)

DUMAGUETE, NEGROS ORIENTAL -- In the late-January 2025, the National Bureau of Investigation (NBI) arrested five (5) Chinese nationals on charges of espionage. The male suspects were named Cai Shaohuang (also known as 'Richard Tan Chua'), who recently reported to be the group's field commander are 'Cheng Hai Tao', 'Wu Cheng Ting', 'Wang Yong Yi', and 'Wu Chin Ren'.

The male suspect individuals were previously under surveillance following the mid-January 2025 arrest of another Chinese national "Deng Yuanqing" and his local cohorts for violations of the Espionage Act. Intelligence reports advised that the group was involved in the aerial surveillance of the Philippines using illegal drones for the surveillance of Philippine navy assets.

The project alarmed some, as it is hypothesized to be a controversial 174-hectare reclamation in 'Dumaguete City, Negros Oriental'. As recalled in 2021, the local government units (LGUs) experienced disapproving stakeholders opposing the proposed reclamation for a planned "Smart City".

The project was to be done through a joint venture with 'E.M. Cuerpo, Inc.' which signed a Memorandum of Understanding (MOU) with Poly Changda Overseas Engineering Company (PCOEC), a Chinese state-owned company as a subcontractor for the reclamation component. Proponents of the project called for criticism over its environmental impact and involvement of the alleged foreign partner.

Atty. Eduardo Sedillo, who is a constitutional law professor at Silliman University in Hibbard Avenue said there are legal flaws in the proposed reclamation and can harm marine ecosystems and local fisheries. The recent arrests have raised speculation that there is a connection between the espionage activities and the reclamation project.

The involvement of PCOEC, a state-Chinese firm in this said the controversial project was so deadly terrible, that soon-to-be outgoing Dumaguete Mayor and retired politician 'Mr. Ipe Antonio Buscato Remollo' unaware the local issues that waste taxpayer Philippine pesos, with groups raising concerns over foreign intrusion and national security. The authorities, though no official allegation has been announced connecting the activity to the arrests for espionage, it was a little too close of a chronological proximity for citizen and government calls for a complete and proper investigation.

The public is urging the government to scrutinize foreign involvement in critical infrastructure projects and not to compromise national security. As the situation develops, it will be seen if these arrested individuals have a direct connection to the controversial reclamation project, or if, their suspicious activities at large, are part of a bigger intelligence-gathering operation.

Investigations are now ongoing and more details will soon be available from the NBI and police officials to the national press media. This case shows the importance of vigilance in protecting national interests, especially in foreign participation in big projects. The government will review existing protocols and partnerships to prevent future security breaches in our nation.

SCREENGRAB COURTESY: Avito Dalan via Philippine News Agency BACKGROUND PROVIDED BY: Tegna

SOURCE: *https://www.pna.gov.ph/articles/1243005 *https://www.philstar.com/headlines/2025/01/31/2418084/nbi-arrests-5-chinese-nationals-espionage *https://www.facebook.com/100083255232996/posts/599301839521652 *https://www.facebook.com/61563839249938/posts/122143679642461308 *https://mb.com.ph/2021/7/14/fishers-group-urges-denr-to-reject-dumaguete-reclamation-project *https://www.getrealphilippines.com/2021/07/dumaguete-city-government-to-sign-joint-venture-for-174-hectare-reclamation-amidst-raging-protests/ *https://newsinfo.inquirer.net/1461167/china-firm-tapped-in-dumaguete-project *https://su.edu.ph/su-law-professor-explains-legal-flaws-of-proposed-174-ha-reclamation-project/ and *https://rpnradio.com/group-sees-china-intrusion-in-implementation-of-dumaguete-city-land-reclamation-project/

-- OneNETnews Online Publication Team

[mikeymagee]

Sam Wilson: Double Consciousness

One thing I love about Black superheroes is that they all (in their own ways) celebrate different aspects of the Black experience.

T'challa, in the first Black Panther film represented Afro-futurism and Pan-Africanism.

Shuri, in Wakanda Forever, represented Black grief and the pain of loss.

Luke Cage represented African American pride and resilience

Tyrone from Cloak and Dagger represented the fear of living as a Black person in a white dominated space.

Miles Morales in Into the Spider-Verse, represented the creation of an individual identity (he even uses his graffiti skills to paint his own Spiderman suit). Each hero represented a specific aspect of the Black experience.

But Sam Wilson has always occupied a specific space that (until this moment) had yet to be filled. Sam Wilson, as an African American man, and as an African American Captain America, represents double consciousness.

(Potential Spoilers after the cut)

Double Consciousness, in this context, is a term that was coined by WEB Du Bois in his book The Souls of Black Folk in which he states that:

"It is a peculiar sensation, this double-consciousness, this sense of always looking at one's self through the eyes of others, of measuring one's soul by the tape of a world that looks on in amused contempt and pity. One ever feels his two-ness,—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder. The history of the American Negro is the history of this strife – this longing to attain self-conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He does not wish to Africanize America, for America has too much to teach the world and Africa. He wouldn't bleach his Negro blood in a flood of white Americanism, for he knows that Negro blood has a message for the world. He simply wishes to make it possible for a man to be both a Negro and an American without being cursed and spit upon by his fellows, without having the doors of opportunity closed roughly in his face"

In essence, to be a Black American is to be a creature of two warring worlds, and it also means that the Black American must be ever aware at the fact that every move we make is not only going to be used to judge our character, but also the character of every other Black American. And Sam Wilson is aware of that fact.

In both The Falcon and the Winter Soldier, Sam brings up the fact that he knows the world is watching him and hating him simply for being a Black man who represents the United States. When Sam is juxtaposed against Isaiah Bradley, another Black Captain America who the country abandoned, Sam is reminded of how this country has always treated Black men and women.

And, sadly enough, Sam could also be looking at his own future. During Brave New World, Sam is ever honorable, ever compassionate and ever empathetic to everyone around him (even when their actions do not warrant Sam's kindness). Because, once again, Sam is aware that his actions (whether negative or positive) will have a greater impact on more than just himself. And that kind of pressure can lead to bitterness. It can wear a body down.

Sam states:

"Because if I’m not on point, I feel like I’ve let down everyone who is fighting for a seat at that table.”

Isaiah Bradley has always had a rocky relationship with the US, just like all African Americans have, So it makes sense to me that Sam Wilson may also be thinking about Isaiah each time he picks up the shield. When African Americans create something (be it a movie, or a tv show, or a play) that centers on the Black experience, there is an added pressure to overperform to prove the validity of the project and the validity of Black narratives. When The Wiz, a film that was originally going to be seen as "The First Black Classic" bombed in 1978, many Hollywood producers and film historians credited that film's failure as the reason why Black-led franchises are/were seen as box office poison for so long. Even with the success of 2018's Black Panther film, there are still people who're gun shy about centering Black narratives in the mainstream. So, if Sam Wilson were to fail as being Captain America, or if Sam Wilson were to represent himself in a way that is less admirable, it would have an effect on Isaiah's legacy, it would have an effect on Joaquin, it would have an effect on (potentially) Isaiah's grandson.

And even still, during the prison scenes in BNW, when Isaiah is locked away and Sam comes to visit him, Isaiah states:

"The last thing I want is for any of this ugliness to touch you."

Within the MCU Isaiah and Sam's stories are linked. Not just through the fact that Sam brought Isaiah's story out into the light, but also because they are both Black men who have held the mantel of Captain America, and whether they like it or not, their destinies with that legacy are intertwined. One will affect the other. They are each other's keeper.

Sam Wilson, rather through happenstance or fate, is the embodiment of Double Consciousness. Luke Cage, in both his comic book series and his Netflix show, was free to exist as a person outside of the white gaze. He could be angry, sad, fearful, etc, and not have to worry about how his actions would affect the larger community outside of Harlem. Sam Wilson does not have the luxury. So, when Sam is faced with a microaggression (such as being called "Son" by Ross), he is forced to hold his tongue. Sam Wilson is expected to react with kindness and decorum in the midst danger or disrespect, not because he can't fight back, but because he knows how the weight of his actions will affect those who look like him.

And Sam Wilson, a Black man without the soldier serum, is still expected to do everything that Steve Rogers (and to a lesser extent John Walker) do. Sam Wilson must do twice as much work with half as many resources. And if that's not the embodiment of the African American experience, I'm not sure what is. Many African American genres of music were created out of necessity and transferring what knowledge we could salvage onto new instruments. In short, African Americans had to improvise with the tools they were already given and create something new. Jazz and Blues was created because Black slaves were not allowed to use drums, so those rhythmic patterns were transposed onto guitars and horns.

Sam is expected to carry a large amount of physical labor (simply fighting as a human being without the serum clearly takes a toll). But he's also expected to do a lot of emotional labor as well. Through BNW Sam acts more as an ambassador for the US than a soldier. It is canon that in the MCU Sam speaks English, Spanish, Arabic and Japanese and he uses those skills to extend diplomacy to other nations and other people. In BNW, it was Sam who was responsible for deescalating international tensions with Japan, and it was Sam who managed to avoid a war through peaceful negotiation rather than war mongering (as Ross wanted to do). Even during the fight with Red Hulk, Sam had to resort to other means to achieve results (something that Steve or John Walker would've just brute forced their way through). Even while Sam was being shot at in the air, he never lost his cool because (like many African Americans) he is not afforded that privilege. John Walker, in TFATWS is allowed to murder and stain the shield with blood, but no one would ever say that white men like Walker are the problem with America. Yet Sam (and Isaiah) are far too familiar with the fact that a Black man screwing up will result in the judgement of everything that is associated with Blackness and Black people. So, they must find solutions without the use of violence. Sam must be diplomatic when the easier solution would be violence. Sam must be able to communicate with others on their own turf or in their own language during tense situations (like when he spoke Japanese to the fighter pilots).

Sam Wilson does not have the serum, but he does have wings. So, he adapted. Sam Wilson does not have the super strength needed to work the shield the same way Steve does, so Sam adapted and improvised. Just like Jazz music, Sam Wilson turned a perceived fault into a creative strength. He had to use his linguistic skills, his counseling skills, his flight capabilities, psychology and his boundless optimism to do the impossible.

A very hurting thing for Black Americans - to feel that we can't love our enemies. People forget what a great tradition we have as African-Americans in the practice of forgiveness and compassion. And if we neglect that tradition, we suffer.

-Bell Hooks

The fact of the matter remains, Sam Wilson embodies so many aspects of the African American experience, even when he doesn't mean to. Compassion. Improvisation. And the constant idea that this country can choose its better angels. In a way, Sam Wilson occupies a space that Luke Cage, T'challa, Shuri, and even Erik Killmonger cannot. It is a piece of the African American experience that takes a slug in the face and still gets right back up. The Black American tradition of making the impossible a reality through nothing but sheer force of will. Steve Rogers might have been the one to say the words "I can do this all day," but Sam Wilson lives them.

And he comes from a centuries old tradition of people who have been living them.

[blackstarlineage]

Roots and Routes: The Sharp Divide Between Afrocentrism and Pan-Africanism Through a Garveyite Lens

Introduction:

Too often in today’s discourse, Pan-Africanism and Afrocentrism are used interchangeably. But from a Garveyite perspective—rooted in organization, political power, race-first philosophy, and global Black unity—this conflation is both incorrect and dangerous. While both frameworks attempt to restore dignity to African people, their core philosophies, strategies, and end goals differ profoundly. One is a worldview rooted in aesthetic restoration and cultural reclamation; the other is a revolutionary project of global liberation, nation-building, and self-determination. Let’s draw the line.

1. Definitions: Surface vs Structure

Afrocentrism is primarily an intellectual and cultural movement. It seeks to reframe history, philosophy, and identity from an African-centered perspective. It reclaims ancient African contributions to civilization (Kemet, Nubia, etc.), reinterprets historical narratives, and critiques Eurocentric frameworks in education, religion, and science. Its goal is to mentally decolonize.

Pan-Africanism, especially in its Garveyite form, is a political movement—built on race pride, economic independence, self-reliance, and the unification of all African people under one flag. It calls for African control of African affairs, be it on the continent or in the diaspora. It doesn’t just want to rewrite history—it wants to make history.

Garveyism, the most militant and organized strand of Pan-Africanism, understands this difference and demands more than mental liberation. It demands power—political, economic, and military.

2. Cultural Reconnection vs Political Realignment

Afrocentrism often revolves around symbolic reclamation—names, clothes, spiritual systems, and a sense of identity. It’s about replacing European heroes with African ones, reclaiming ancestral memory, and taking pride in Blackness.

But Pan-Africanism asks: What systems do we control? Who governs our lands? Who owns the resources? It sees cultural pride as a tool, not an endpoint. Garveyites assert: What good is reclaiming a name or deity if we still live under foreign rule, economic dependency, and systemic subjugation?

Afrocentrism may critique oppression. Pan-Africanism strategizes to end it.

3. Individual Liberation vs Collective Nationhood

Afrocentrism often emphasizes personal or group enlightenment—an internal transformation through African-centered knowledge and spirituality. While powerful, this path often lacks organized mass movement or material outcomes.

Garveyite Pan-Africanism is inherently collectivist. It calls for global Black unity—not just in spirit but in institution. Garvey’s UNIA (Universal Negro Improvement Association) built shipping lines, schools, factories, newspapers, and provisional governments. The aim wasn’t just consciousness—but sovereignty.

Afrocentrism may change minds. Pan-Africanism changes conditions.

4. Diaspora Focus vs Global Black Nation

Most Afrocentric discourse is diaspora-centric, particularly African American in tone. Its critiques and solutions are often local, focused on Western systems of education, religion, and media.

Pan-Africanism—Garveyite Pan-Africanism especially—is transnational. It refuses to center the West. It sees Black people in America, the Caribbean, Africa, and Europe as one people with one destiny. Its map is global. Its aim is a worldwide African federation.

Garvey said: “Africa for the Africans, at home and abroad.” Afrocentrism too often forgets the abroad is not just where we are, but where we must unite to return, rebuild, and reign.

5. Militancy and Mass Movement

Garveyism believes Black liberation is a war. It’s not poetic or symbolic—it’s real. It demands discipline, order, strategy, and mass mobilization. The UNIA was a blueprint: uniforms, oaths, ranks, black cross nurses, and political offices. That wasn’t cosplay—it was preparation for sovereignty.

Afrocentrism is rarely militant. It is more academic, introspective, and expressive. There is no Afrocentric equivalent to the UNIA or the Black Star Line. No global organizational machinery. No chain of command. No flag to fight under.

Garveyites know that without structure, you cannot build power.

6. Pitfalls of Afrocentrism: The Garveyite Warning

Myth-making without organizing: Afrocentrism sometimes indulges in unverified or romanticized histories (e.g., everyone being Moors, Israelites, or Pharaohs), which can become distractions.

Individualism over institution: It often produces lectures, not organizations.

Confusion over unity: It can fracture along spiritual lines—Kemetic, Yoruba, Moorish, etc.—while Pan-Africanism aims to unify across these differences for political goals.

Silence on Africa today: Many Afrocentrists romanticize ancient Africa but have little to say about modern Africa’s struggles or Pan-African state-building efforts.

Garveyism stands firm: If it does not build power for African people worldwide—it’s not enough.

Conclusion: The African Race Needs Builders, Not Just Dreamers

Afrocentrism is not the enemy of Pan-Africanism—but it is not the substitute. Culture without sovereignty is performance. Identity without power is vulnerability. Garveyism demands we go beyond aesthetic reconnection and move toward global Black reconstruction.

As Garvey once thundered: “The Black man must build for himself. If others are to live by conquering, then he too must learn to conquer for his survival.”

Let us not be content dressing in Kente while begging for crumbs. Let us organize, unify, and take what is ours.

[elbiotipo]

There is also a thing to be said about how oceans are not empty things, they're not impassable geographical barriers. Oceans are full of life, and not only wildlife, people work and live there (if you're a sailor, so much of your time is spent in the ocean that it becomes your home). Trade travels through the ocean. Natural resources are managed and mismanaged in the oceans. They have historical and cultural value. Like any other natural environment, the seas have been shaped and managed by human activity

When we talk about the Malvinas, we talk about islands, but we are also talking about a British (military, colonial) presence in the seas of Argentina and wider South America. They use it to project their power, their claims over Antarctica, their extraction and use of resources, just mere kilometres from the Argentine coast. It might as well be a British base in the middle of La Pampa or Río Negro (and there are actually some of them, compounds owned by British billionaries who don't let anyone in). Those islands are the most physical projection of British power over a continent they have long tried to subdue to their interests.

It's the same tactic the British use in their colonial possessions in the Indian Ocean (look up the history of the Chagos islanders), or the French and US in the Pacific (ever wondered where the word Bikini came from? Look it up.) People think islands are... Isolated. That they're just a tiny piece of land that cannot be connected to other things. Owning an island means owning the sea around it, and owning the sea never is a neutral thing, the fact that there are no cities on them does not mean it's empty space.

Think about this next time someone tries to tell you "it's just a couple islands with sheep, who cares"

[genderisareligion]

The elusive "TERF" is actually just a mirror

All its devotees know is projection. When I started this blog in late 2020 I more frequently used the tag #DARVO in action to start keeping track of the blatant lies TRAs spew that are really just a tell about their crowd (DARVO = Deny Attack Reverse Victim Offend, a strategy used often by DV abusers) and I just have to start making this cumulative post because:

They're now saying John Money was a radical feminist. Lmfao 💀 The male cracker extraordinaire (we don't even think males can be feminists let alone human most of the time) most responsible for the word gender's mistranslation as something that describes human behavior rather than the behavior of languages (most of which aren't even English), the idiot torturer who's a major reason the intersex community has to guard itself so fiercely against "normative" surgeries, who once claimed that anyone skeptical of his "girl = pink, boy = blue, I must fix anyone else" theories actually just believed that "masculinity and femininity are baked into the genes and women should get back to the kitchen" (sound familiar? What are "TERFs" always being accused of?) Like bro that's you

"TERFs are fascists who need everyone to fit into the male or the female box" actually gender abolition would mean no more boxes besides the purely categorical chromosomal ones we can't help from birth, and actually trying to force everyone to fall somewhere on a scale of femininity and masculinity and positing intersex conditions as the "middle" creates an unnecessary dichotomy amongst particularly females, where a woman born with PCOS is considered "less female" than one without regardless of how she "identifies," and the more "masculine" you are (whatever that even means) the more your body requires meds and surgery.

"TERFs align with fascists" but y'all are the ones with the Big Pharma billions paving your way so lol sorry not sorry but as a Negro it's giving the way they used to experiment on us for profit, refine their methods for research and leave us for dead or permanently disabled. And y'all think it's empowering? You think they actually care that you're personally fulfilled? You think they won't pull another Henrietta Lacks? You think all these detrans people are just flukes? They'll take your thousands of dollars until you're in debt and pump you full of more dubious "treatment" as long as it means they get to keep quietly going home to their white picket fences where all their loved ones are fine pretending they're heroes rather than profiting off others' pain. What is fascism if not allowing the medical establishment to "correct undesirables"?

"TERFs are Nazis" but the "first ever transgender surgery" on "trans woman" Lillie Ebe was performed by literal fucking Nazi Erwin Gohrbrandt who believed "mentally ill people were considered 'feeble-minded' (this was an actual, formal term) and homosexuals were considered to also be 'feeble-minded' and have inferior genes." Fun fact, Lillie was also a fucking Nazi.

"TERFs are all white supremacists" but everyone I just mentioned up there is a fucking white supremacist and not even Google agrees with you there, searches for the word TERF are done almost entirely in Western nations like the US and UK, whereas searches for radfem are balanced worldwide and in fact an African country is #1 on one of those lists, and you can't argue that those searches are by TERFs themselves because "try Googling TERF right now and seeing how many if any positive references show up"

I have more after 4 years lol but lemme cook

[replacementcodeau]

Es un concepto

esto es parte de un "especial" del au que se me ocurrio mientras iba a comprar pan hace 1 año XD

la llame Hologram pomni

pomni holograma: su cuerpo esta en trance y suspensión en la zona mas alta de todo ese desastre ella es pomni o específicamente su conciencia, sin las restricciones por su condición como ringmaster no es corpórea, es como lo dice su nombre un holograma o proyección, ella es físicamente inestable, pues aunque hay veces pueden tocarla en otras no será posible (aunque eso no parece ser un problema para ella)

conserva una pequeña fracción de sus poderes, y esta bastante aliviada, es como dar finalmente un respiro segun ella aunque el mundo este en trizas a su alrededor, no le importaria vivir asi, mientras que no tenga que volver a como estaba antes

contexto:

el estado emocional y mental de pomni afectan al circo y su entorno, podria ser un desastre si llegara a descontrolarse, ella a aprendido a reprimir sus emociones con tal de evitar el caos, pero este "especial" respondería la pregunta de que pasaría si ella tuviera un colapso mental (la forma en la que esto se podría presentar es bastante impredecible) en este caso ella no pudo con la presión y todo se rompio literalmente, podria llamarse realidad rota, puesto que seria todo rodeado por un vacio/abismo negro con escombros, pasillos y cuartos flotando y al fondo estaría el sotano

es un ambiente no muy habitable especialmente si quieres pasar de una "isla" a otra pomni puede pasar sin problemas, ella solo salta y su caida seria como estar en el espacio hasta llegar a suelo firme

pero con los otros, la gravedad es normal hasta que intentan ir a otro escombro, en el abismo serán jalados a lo mas profundo hasta llegar al sótano (es una idea que tengo aunque dudo que lo vean pronto xd, aun asi espero que les gustara <3)

English

This is part of a "special" of my AU that occurred to me while I was going to buy bread a year ago XD

I called her Hologram Pomni

Pomni Hologram: Her body is in a trance and suspended in the highest zone of all that disaster She is Pomni or specifically her consciousness, without the restrictions of her status as ringmaster She is not corporeal, she is, as her name suggests, a hologram or projection. She is physically unstable, because although there are times when they can touch her, at other times it will not be possible (although that doesn't seem to be a problem for her)

She retains a small fraction of her powers, and she is quite relieved, it is like finally taking a break according to her Even if the world is in tatters around her, she wouldn't mind living like this, as long as she doesn't have to go back to how she was before

Context:

Pomni's emotional and mental state affects the circus and its surroundings. It could be a disaster if it were to get out of control. She has learned to repress her emotions in order to avoid the Chaos, but this "special" would answer the question of what would happen if she had a mental breakdown (how this could present itself is quite unpredictable). In this case, she couldn't handle the pressure and everything literally shattered. It could be called a broken reality, since everything would be surrounded by a black void/abyss with debris, floating hallways and rooms, and at the bottom would be the basement.

It's not a very habitable environment, especially if you want to go from one "island" to another. Pomni can cross without problems; she just jumps, and her fall would be like being in space until she reaches solid ground.

But with the others, gravity is normal until they try to go to another piece of debris. In the abyss, they will be pulled deeper until they reach the basement.

(It's an idea I have, although I doubt you'll see it soon, lol. I still hope you like it <3)

[arinzeture]

When America was discovered and colonized by England, England populated her American colonies not with people who were refined and cultured, but, if you read the history, she did the same thing here that she did in Australia. All the convicts were sent here to found this country. The prisons were emptied of prostitutes and thieves and murderers. They were sent over here to populate this country. When these people jump up in your and my face today, talking about [how] the founding fathers were puritan pure, that's some talk for somebody else. No, the founding fathers from England came from the dungeons of England, came from the prisons of England; they were prostitutes, they were murderers and thieves and liars. And as soon as they got over here, they proved it. They created one of the most criminal societies that has ever existed on the earth since time began. And if you doubt it, when you go home at night, look in the mirror at yourself, and you'll see the victim of that criminal system that was created by them.

They were such artful liars, they were such artful, skillful liars, that they were able to take a criminal system and, with lies, project it to the world as a humanitarian system. They were the worst form of criminals themselves, but with their lies they were able to project themselves as pilgrims who were so religious, they were coming to this country so they could practice their religion. And you ate that thing up 100 percent. No, they were crooks that came here—Washington, Jefferson, Adams, Quincy, and the others, all of them were criminals. And if you doubt that they were, when they wrote this document talking about freedom, they still owned you. Yes, when they wrote, how does that thing go—about "all men created equal"?—that was later on. Who was it wrote that—"all men created equal"? It was Jefferson. Jefferson had more slaves than anybody else. So they weren't talking about us.

When I see some poor old brainwashed Negroes—you mention Thomas Jefferson and George Washington and Patrick Henry, they just swoon, you know, with patriotism. But they don't realize that in the sight of George Washington, you were a sack of molasses, a sack of potatoes. You—yes—were a sack of potatoes, a barrel of molasses, you amounted to nothing, in the sight of Washington, or in the sight of Jefferson, or Hamilton, and some of those other so-called founding fathers. You were their property. And if it was left up to them, you'd still be their property today.

Malcolm X

[ledesaid]

Definitely the last chapter of my fanfic, while I was making the sketch I realized some details to clarify...

Author's comments:

The boys' current place is not physical, which is why Jon cannot fly.

Billy is 15 seconds away from electrocuting Damian, don't doubt that the little ball of hate has his katana somewhere.

Billy holds Damian's hand, but his cape got caught in the clumsy and unexpected rescue as they fell from the skies!

[nile-the-empathy-cleric]

I'm a huge fan of your work, your writing is so beautiful, and the way you add your own personal love of art is just; it's genuinely amazing. I was wondering if you have any paintings that you think each of your favorite characters would represent or maybe even what u see when u look at them. ❤️🖼🎨🖌

Oh boy do I love this ask! Firstly, than you 🥺 you're too kind 💕

Second I have so many paintings that spring to mind for various characters! Immediately off the bat my brain went right to Lestat and how his presence and aesthetic (especially in 1920s New Orleans) gave gigantic J.C. Leyendecker vibes.

(left) The Sleuth J.C. Leyendecker, ca. 1906 and (right) Arrow Shirt Collar Ad, 1916. By J.C. Leyendecker For Arrow Shirt Collars, 1916

The way Leyendecker plays with shadow, light, and color to project an air of seduction and power is just *chef's kiss.* He is a master at depicting an idealized masculinity that still has a level of vulnerability. I don't think it's just the styling/ fashion of the men in Leyendecker's illustrations that remind me of Lestat, but the features as well. J.C. gives them this attitude of nonchalance but there's something deeply concerned with appearances underneath. Is that not Lestat?

For Claudia there are a couple. First (not a painting but a sculpture) is Degas' The Little Dancer Aged Fourteen. I look at this piece and think of the history of ballet and the connotations of ballet at the time Degas was working. In France at the time ballerinas were highly taken advantage of and exploited. The exploitation was sexual in nature and simultaneously adultified and infantilized. They were highly fetishized. It's very sad and tragic and it reminds me of Claudia. The Little Dancer has an almost defiant energy to her, like there is a sense of pride and restraint, something dignified despite her lesser social standing.

I also see something of Claudia in this piece: Girl in Pink Dress, ca. 1927 by Laura Wheeler Waring. I also think this girl embodies the qualities of both Bailey and Delainey's Claudias–– there's simultaneously an innocence and maturity. I see something similar in Isabella, (aka Young Woman with a Fan), 1906 by Simon Maris and I just think it's neat to see art of Black people done by a white person from the early 1900s that isn't fetishizing or racist (don't look at J.C. Leyendecker's art of Black people, yikes!)

For Louis, my first thought was Derek Fordjour's STRWMN, 2020. It gives NOLA Louis to me in terms of style, but also the colorful and fun energy has the vibes of his little journey of gay self-discovery in Paris. I also see Louis in Lois Mailou Jones' Negro Youth, 1929. It mirrors depressed Louis for me. There is something very fragile in his expression, but you can tell he's trying to be strong, much like Louis.

As for Armand? Well, the number one is Botticelli's Saint Sebastian (it just has an uncanny resemblance to Assad) and the metaphor is too apt to not point out. The other that immediately make me think of Armand is The Abduction of Ganymede by Correggio. It's less the painting and more the myth it's based on, but out of all the Ganymede paintings, Correggio's is my favorite.

And Daniel is just like... any Nan Goldin photo, but I'll pick Heart-shaped bruise, 1980. I don't think I need to give my thoughts here 😂

Thank you again for such a fun ask! I appreciate every message I get from anons and mutuals alike 🥰

[*Edit: Being transparent––I went back and corrected a mistake I made in the original because I don't want an inaccurate/ racist post going around, even after a correction in the reblogs if people aren't seeing the original. I accidentally implied that Laura Wheeler Waring was white. I meant the statement about Simon Maris, who was a Dutch portrait artist. Laura Wheeler Waring was a prominent Black artist. Lesson to self: do not write deeply thoughtful posts at 1 am while you have a fever.]

[fiercynn]

black & palestinian solidarities

if you support black liberation but are unsure of your stance on palestinian resistance, here’s a reminder that they are deeply intertwined. after the 1917 balfour declaration by the british government announcing the first support for a zionist state in palestine,  zionism and israeli occupation of palestine have followed similar ideologies and practices to white supremacist settler colonial projects, so solidarity between black and palestinian communities has grown over time, seeing each other as fellow anti-imperialist and anti-racist struggles. (if you get a paywall for any of the sources below, try searching them in google scholar.)

palestinians have been inspired by and shown support for black liberationist struggles as early as the 1930s, when arabic-language newspapers in palestine wrote about the struggle by black folks in the united states and framed it as anti-colonial, as well as opposing the 1935 invasion by fascist italy of ethiopia, the only independent black african state at the time. palestinian support for black struggles grew in the 1960s with the emergence of newly-independent african states, the development of black and third world internationalisms, and the civil rights movement in the united states. palestinian writers have expressed this solidarity too: palestinian activist samih al-qasim showed his admiration for congolese independence leader patrice lumumba in a poem about him, while palestinian poet mahmoud darwish’s “letters to a negro” essays spoke directly to black folks in the united states about shared struggles.

afro-palestinians have a rich history of freedom fighting against israeli apartheid, where they face oppression at the intersections of their black and palestinian identities. some families trace their roots back hundreds of years, while others came to jerusalem in the nineteenth century from chad, sudan, nigeria, and senegal after performing the hajj (the islamic pilgrimage to mecca) and settled down. still others came to palestine in the 1940s specifically to join the arab liberation army, where they fought against israel’s ethnic cleansing of palestinians during the 1948 nakba (“catastrophe”). afro-palestinian freedom fighter fatima bernawi, who was of nigerian, palestinian, and jordanian descent, became, in 1967, the first palestinian woman to be organize an operation against israel, and subsequently the first palestinian woman to be imprisoned by israel. the history of afro-palestinian resistance continues today: even as the small afro-palestinian community in jerusalem is highly-surveilled, over-policed, disproportionately incarcerated, and subjected to racist violence, they continue to organize and fight for palestinian liberation.

black revolutionaries and leaders in the united states have supported the palestinian struggle for decades, with a ramp-up since the 1960s. malcolm x became a huge opponent of zionism after traveling to southwest asia and north africa (SWANA), publishing “zionist logic” in 1964, and becoming one of the first black leaders from the united states to meet with the newly formed palestine liberation organization. the black panther party and the third world women’s alliance, a revolutionary socialist organization for women of color, also supported palestinian resistance in the 1970s. writers like maya angelou, june jordan, and james baldwin have long spoken out for palestinians. dr. angela davis (who received support from palestinian political prisoners when she was incarcerated) has made black and palestinian solidarity a key piece of her work. and many, many more black leaders and revolutionaries in the united states have supported palestinian freedom.

while israel has long courted relationships with the african union and its members, there has been ongoing tension between them since at least the 1970s, when all but four african states (malawi, lesotho, swaziland, and mauritius) cut off diplomatic ties with israel after the 1973 october war. while many of those diplomatic relationships were reestablished in subsequent decades, they remain rocky, and earlier this year, the african union booted an israeli diplomat from their annual summit in addis ababa, ethiopia, and issued a draft declaration on the situation in palestine and the middle east that expressed “full support for the palestinian people in their legitimate struggle against the israeli occupation”, naming israeli settlements as illegal and calling for boycotts and sanctions with israel. grassroots organizations like africa 4 palestine have also been key in the BDS (boycott, divestment, sanctions) movement.

in south africa, comparisons between israel and south african apartheid have been prevalent since the 1990s and early 2000s. israel historically allied with apartheid-era south africa, while palestinians opposed south african apartheid, leading nelson mandela to support the palestinian liberation organization as "fighting for the right of self-determination"; over the years his statements have been joined by fellow black african freedom fighters like nozizwe madlala-routledge and desmond tutu. post-apartheid south africa has continued to be a strong ally to palestine, calling for israel to be declared “apartheid state”.

black and palestinian solidarities have continued into the 21st century. palestinian people raised money to send to survivors of hurricane katrina in the united states in 2005 (which disproportionately harmed black communities in new orleans and the gulf of mexico) and the devastating earthquake in haiti in 2010. in the past decade, the global black lives matter struggle has brought new emphasis to shared struggles. prison and police abolitionists have long noted the deadly exchange which brings together police, ICE, border patrol, and FBI agents from the united states to train with soldiers, police, and border agents from israel. palestinian freedom fighters supported the 2014 uprising in ferguson in the united states, and shared strategies for resisting state violence. over a thousand black leaders signed onto the 2015 black solidarity statement with palestine. the murder of george floyd by american cops in 2020 has sparked further allyship, including black lives matter protests in palestine, with organizations like the dream defenders making connections between palestinian and black activists.

this is just a short summary that i came up because i've been researching black and asian solidarities recently so i had some sources on hand; there's obviously so much more that i haven't covered, so please feel free to reblog with further additions to this history!

[stua]

NEW DENEB CONSOLE TABLE

Today we introduce a new Jesus Gasca design: the new Deneb console table, with a generous 40 x 120 cm top and a height of 73 cm. Deneb console table comes in a single finish, completely black: with the structure lacquered in epoxy and the top in the new high resistance black laminate that STUA presents as a novelty this year. You can add Deneb console to your interior design projects, either in the entrance, next to the dining room or even behind a sofa, thanks to its elegance and timeless design. DENEB: www.stua.com/design/deneb

NUEVA CONSOLA DENEB

De la mano de Jesús Gasca hoy os presentamos la nueva consola Deneb. Con una generosa medida de tapa de 40 x 120 cm y una altura de 73 cm. La consola Deneb se presenta en un solo acabado, completamente negra: con la estructura lacada en epoxi y la tapa en el nuevo laminado negro de alta resistencia que STUA presenta como novedad este año. Un elemento que puedes añadir a tu proyecto, bien en la entrada, junto al comedor o incluso tras un sofá, gracias a su elegancia y diseño intemporal.