
Take a slightly dorky light skinded dude, throw him a fedora and tell him to hold a cigarette like a doobie. That's my president.
via adrizzle.




“Mild-mannered and deferential, Fong is the antithesis of Hollywood’s version of a big-city police chief. In a department whose chiefs have customarily come from the ranks of hard-nosed street cops…Fong spent only a few years as a beat cop on the not-so-mean streets of the Richmond before climbing the career ladder as an administrative tastemaker. Also unlike her predecessors, hers is the persona of a Girl Scout leader.”
This is for Aisha, this is for Kashera
This is for Khadijah scared to look up in the mirror
I see the picture clearer thru the stain on the frame
She got a black girl name, she livin black girl pain

...from a series of questions about what it means to be an immigrant in the United States and the creative energy that the Third World brings to it:
"America has no more creative energy than England. England has way more. All this stuff that’s happening in Middle America, if you think about it, creatively, their political stance. People fly-posting, and ‘fuck this shit.' All that shit. If you look at the designers that make political T-shirts, ‘Fuck Nike, Here’s Mike.’ That actual attitude started in England. It didn’t even start in America while they were fucking going around bombing people all over the planet. It kind of came from Banksy. We were doing shit like that 10 years ago reacting to what was going on in America, because there was no reaction that was coming out of America. […] It couldn’t have come from America. You can’t make that happen in America because they’re not tolerant. That was the whole point."
She also said, about Kala, "I wrote the album for Mexicans, shit," and that if her visa is not renewed and she must leave her place in Brooklyn she will, jokingly, "Move to Mexico and start launching missles from here." And when I asked her if fashion influences her music or if music influences her fashion, M.I.A. unequivocably said, "Fashion comes first."

The toll this increasingly oppressive climate has taken on Mancha represents but a small part of its effects on non-citizen immigrants, especially undocumented immigrants, and other Latinos. Mancha and the younger children of the mostly immigrant Latinos in Georgia are learning and internalizing that they are different from white--and black--children not just because they have the wrong skin color but also because many of their parents lack the right papers. They are growing up in a racial and political climate in which Latinos' subordinate status in Georgia and in the Deep South bears more than a passing resemblance to that of African-Americans who were living under Jim Crow.
Call it Juan Crow: the matrix of laws, social customs, economic institutions and symbolic systems enabling the physical and psychic isolation needed to control and exploit undocumented immigrants. Listening to the effects of Juan Crow on immigrants and citizens like Mancha ("I can't sleep sometimes because of nightmares," she says. "My arms still twitch. I see ICE agents and men in uniform, and it still scares me") reminds me of the trauma I heard among the men, women and children controlled and exploited by state violence in wartime El Salvador. Juan Crow has roots in the US South, but it stirs traumas bred in the hemispheric South.



"When I say that I need more, this is the more I need. I need an alternative. I need more then the recycled script of hope. I cannot be hopeful when a candidate proclaims that the same free-market that binds me can also free me. I am not hopeful when candidates dance around and do everything but explicitly talk about racial politics. Hope requires not only the articulation of a one-syllable word, but the transformation of our values and structures so that this hope is grounded in some realistic possibility for change. I cannot hope for an end to poverty when that hope is confronted by the abruptness of continuing labor exploitation."