All-new Bangles I snatched from ASOS. I think they make me look fancier when leafing through a GQ of stuff I will never be able to afford. Broke King Things.
By: Steven Underwood
Maybe if they weren’t clocking Blacks at PWIS who only sin was wanting to afford a cup of ramen noodles every once in a while, instead of selling a kidney for a degree, Howard would’ve realized someone’s nephew was running off with their Housing Grant.
After, what? Four years? Four years of being finessed by someone’s boat shoe wearing Blavity black, the total sum of financial loss snatched by Mr. Hankerson amounts to about $500k. That’s 500 stacks. That’s maybe fifty times my current amount of debt I’ve amassed being “finessed by the white man.”
I’m shook. Not shook like Howard’s CFO by the IRS, but I’m shook like a Wakandan watching the Civil Rights Movement from the comfort of my rhino: saddened by the audacity, but otherwise unaffected.
I guess this just means I made the right decisions. You know? Maybe, I did sacrifice an “Authentic HBCU experience” for bein dicked by white men. But you know what didn’t happen to me? I wasn’t scammed by a mink coat, designer bag slinging undergrad in white rubber boots.
I wasn’t scammed by Curious George’s unscrupulous cousin.
I wasn’t scammed by someone named Tyrone Muthafuckin’ Hankerson.
Do I sound petty? Comment below with what you would’ve done with the $500k your pre-law/pre-med/home health aid major cousin took out a personal loan under your auntie’s name with? I’m sure it would’ve been half as nice as what Hankerson did with it.
“I want to be an authentic, unapologetic warrior for black culture and the culture of the street and how it moves. My thing is most importantly to change the narrative of the black race. I can’t relate to anything that isn’t about that.” — Love, formerly Sean Diddy Combs, for GQ April 2018.
Here are a few of my favorite pictures from his shoot. Got any favorites? Comment below!
By: Steven Underwood
Listen to LEGEND OF
TOMORROW’s Keiynan Lonsdale’s newest single about love, happiness and acceptance. Keiynan Lonsdale is not only known for playing Kid Flash/Wally West on THE FLASH, but coming out as bisexual earlier this year.
For other versions, head over to http://keiynan.com/
Like the song? Comment below!
By: Steven Underwood
“For the record: I wasn’t too busy to work on Deadpool.” Tweeted Donald Glover, moments before dropping a 14 thread false pilot episode, featuring topical jokes such as Sanaa Lathan biting Beyoncé’s and Tekashi69’s (lack of) rap skills. This BOMB dropped just after Glover and his brother parted ways with the Deadpool animated series, where “differences” in creativity were cited. (Pictures below).
After reviewing the script, Glover stated that it was likely his “different” approach that scared away the prospectively lucrative deal.
By different, I of course mean Black.
What do you think? Do you agree Sanaa Lathan bit Beyoncé’s face? Where do you imagine Gambino’s series fitting in? Comment below
“I studied English literature and Japanese at the University of California, Los Angeles, because I thought it would be very important to be able to communicate… There is nothing more off-putting than a piece of writing that is misspelled or grammatically incorrect.” – Natalie Massenet on the importance of her writing background as a entrepreneur from THE TEEN VOGUE HANDBOOK.
Did you read Natalie Massanet’s interview in the TEEN VOGUE HANDBOOK? Comment below what you thought!
By: Steven Underwood
TL;DR: Snow-haired black girl, Zélie Adebola, comes from a race of magical and oppressed race in a world without magic known as Maji. Hated for their violent power and spiritual culture, Zélie embarks on a quest to return the power to her people alongside the timid, yet progressive daughter of the very king who slaughtered their people – and most importantly, her Maji mother – Amami. If only the heir to the crown of Orisha, Inan, shared his sister’s views, rather than a coveted secret.
Yemi meets my eye with a hatred that impales me like a sword. Though her mouth never opens, her voice rings in my skull.
“Safe ended a long time ago.”
The Children of Blood and Bone by Tomi Adeyemi is one of the last examples of why the novel cannot be doomed at such a pivotal stage in the decolonization of Culture. Just as we excavate the shrines of closeted racists, misogynists, sexual predators and bigots from our Art, there leaves open space and room for us to erect new geniuses of the craft. This is not their playground anymore. This will never be their playground ever again. Take from that what you will people who expect us to feel bad for forcing our way through the door and eliminating the mediocre or dry.
With that said, Tomi Adeyemi showcases the brilliance of a story driven by the necessary spirit of characterization. Starting with her protagonist, Zélie, an arrogant and fiery force of revolution and fight, we witness the unfiltered anger that comes with those oppressed. Rather than depicting the narrative of noble forgiveness and the superior power of peace, the author manifests a character who cannot and will not forgive or love an oppressor who wishes her harm that is included in the narratives of specific groups penned by people with an extremely obvious bias in laying the stakes within forgiveness.
This characterization forces out a story that is fresh and exciting because of how simplistic the view is: that you can be all-consumed with anger, and still not be wrong for refusing to relinquish it. Zelie’s fire is by far the most exciting part of the story. Equally, Adeyemi creates a supporting cast of complicated heroes and anti-villains whom emphasize the very real fears of fighting against a society that benefits you, and only seeks to benefit you (Amami): of the realities of resistance and the double-sided nature to those who seek to raise equality only when they themselves are put at risk for oppression (Inan).
Despite a elementary magic system embrightened by a prose and cultural significance that shames the simplistic and forwardly lackluster nature of Harry Potter, the world-building incites feelings of wonder and dream, and even a sadness that even in a world as spectacular as that illustrated by Adeyemi, we still witness the atrocities and pains we find so common in our every day life.
I recommend this book for anyone interested in a decolonized approach to conventional Fantasy or interested in Speculative Fiction.
-1 for Generic Magic System
-.5 for Convoluted Ending