5ft1:

cheolhakja:

Lol my dad is still amazed white people eat kimchi, tacos, and sushi now. He lived in LA since the 80’s and white people made fun of his smelly lunches and thought Mexican food and raw fish were dirty.

Like, white people are trying to make profit off kimchi now when it’s a free fucking side dish at all Korean restaurants.

^

feelinit:

Yeah I know life’s a bitch, get the best of her.

dnyce2fly3:

Question of the day #Ferguson R.I.P Mike brown

dnyce2fly3:

Question of the day #Ferguson R.I.P Mike brown

slavocracy:

sorry white people but if you dont support mike brown & the people of fergusons’ protests in 2014 you probably wouldnt have supported abolition in the 1800s or civil rights movements in the 1960s & having the ability to recognize something as morally justified in hindsight something that has already been accepted by the mainstream as morally justified is nice for u but on all practical levels useless to everyone else 

susiethemoderator:

jonsnowflakes:

Collegehumors’ new video is on point as always

It’s even funnier when you see the White Tears in the comment section saying EXACTLY what the actors say in the video.

vinegod:

Didn’t see that one coming by Thomas Sanders

corporatepapi:

Words of Revolution— a  New Documentary on Salvadoran Hip-Hop 

It’s easy to make the connection between the dissemination of hip-hop in El Salvador and Salvadoran gang culture: Mara Salvatrucha, named the world’s most dangerous gang by National Geographic, has its origins in Los Angeles around the same time LA gangster rap was blowing up. However, the complete picture is more complex than that, and a new documentary titled Words of Revolution aims to shed light on the trajectory of Salvadoran hip-hop. The film showcases how Salvadorans use hip-hop to articulate the generational trauma of civil war and migration. SalvaCultura had the opportunity to chat with the filmmaker, Junior Gonzalez, and talk about the new film.

SalvaCultura: Junior, first can you tell us about yourself?

Junior Gonzalez: I am a first generation Salvadoran-American from the Bay Area in California. My sister and I grew up with a single parent mother at an early age. My parents migrated here to the states in the late 70’s from El Salvador looking for a better way of life. I learned my hard-working habits and how to hustle at an early age…I guess you can say I learned that from my mother. At that time my mom was on her own with little help and she didn’t even know English. It was tough times growing-up with a single parent because we lived poor and we struggled. But my mother’s heart and soul never gave up on faith. From my mother, I learned to always stay positive, reach for the stars, and never give up on a dream. She is a big part of who I am today. One of my accomplishments that I am very proud of and I really owe it to my mother is when I received a M.F.A from Loyola Marymount University in Los Angeles. That is where I got my masters in Television.  She really pushed me to go chase what I love… movies.  

SC:
 Can you tell us a bit about Salvadoran hip-hop history? And where do you see Salvadoran hip-hop going?    

Junior: 
As far as the history of Salvadoran Hip-Hop…well I just learned it from making my documentary. From my understanding, the group Reyes Del Bajo Mundo (RDBM) who are based in New York are considered to be the pioneers of Salvi Hip-hop (Salvi is the new word that the community is using now). When RDBM migrated to the states in the 80’s they became part of the explosion of hip-hop when it first started in New York. They were going back and forth to their homeland and New York to help bring identity to the culture through their music. 
Salvi Hip-Hop is growing because the urban culture within the community is growing. I see more youngsters getting into hip-hop because it gives a voice to the “voiceless.” And if you understand the history of Hip-Hop, the music has always been about speaking your mind and talking about social issues. The music has obviously grown and it now has different types of messages, but the root of Hip-Hop has always been about representing the people and giving that “voice.”  

SC: Why did you feel compelled to make this movie?
(Read the full Q&A here)

khaste-irooni:

Egypt, 1920

khaste-irooni:

Egypt, 1920

whitecolonialism:

Images of the Border Crisis in the United States.
AATTP

An estimated 52,000 unaccompanied children have entered the United States from Central America since October. President Barack Obama has asked Congress for $3.7B to improve security along the border, provide better housing for the undocumented immigrants while in custody and to speed up the deportation process. 

Despite the horrible conditions these children are attempting to escape, conditions that include extreme poverty and violence, the White House has said that “they expect most will ultimately be repatriated,” despite the fact that about 60% of children coming over from Central America are eligible for some kind of humanitarian protection, according to a report from the Office of the UN High Commissioner for Refugees.

While the problem before us must be handled immediately, it cannot be addressed without first examining it’s root causes. While our American elected officials and media would like to make us all believe that this issue is unrelated to American behavior and that it is simply the result of the inability of Central American countries such as El Salvador, Guatemala and Honduras to protect their borders and reduce through policing their crime the truth is quite the opposite. This immigration issue that the United States is currently facing is the result of American economic and military intervention in Central America.

For decades the United States has toppled governments in Central America, fueled civil wars and most recently has escalated the War on Drugs within countries in Central America. The connection between the United States foreign policy and it’s current immigration problem cannot be ignored, every action has an effect and due to the actions taken by the United States in the past, we today see families from all over Central America attempt to flee the violence that the United States was instrumental in creating.