“We want to dress like, walk like, talk like, dance like, yet we just stand by/ We take all we want from black culture, but will we show up for black lives?”


Tampered with heist flag

Guys, I tampered with your heist flag



Macklemore & Ryan Lewis via Pitchfork

Macklemore & Ryan Lewis



White Privilege II


Katrina’s Epilogue

Formation (Dirty) via new south negress



Macklemore & Ryan Lewis return with the follow-up to the rapper’s 2005 track “White Privilege” with “White Privilege II” featuring Chicago singer Jamila Woods.

Kyleen James



Every so often you gotta go down on your knees when hearing a song. Last time it happened was with Kanye West’s soul music—when he had magically mixed in a bit Strange Fruit by way of Billie Holiday. That’s soul.

Step aside. Have living artist Jamila Woods from Chicago take over with white privileges.

It’s not that the beating continues until moral improves, you are brought down on your knees when hearing the song in the epilogue of storm Katrina. And it won’t fade as quickly as you would wish for.



A 2 min read on Medium by Kate Forestall popped up today titled: “Formation doesn’t include me— and that’s just fine. Dr. Zandria Robinson had already composed an astonishing commentary on the video, a must-read to understand why this is more than a song. But I’m here to say something else — if you check the “caucasian” box on a job application, your place is in the bleachers for this dance”.




Beyoncé is a black woman artist making black art for black women. She is not stealing from black culture or appropriating. She is not touching her toes in the stream of the various elements that encompass American blackness. No, she is creating work that speaks to an audience that might not receive the sort of mainstream, visually and sonically-enticing wisdom that Bey has perfected. This reality has never been more evident than on “Formation,” her latest off-kilter, even downright weird trap track, which dropped on Saturday afternoon.

Britt Julious




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