Happy National Aboriginal Day from an NDN Girl in Suomi!
I am biracial (white / Ojibwa). My grandma’s reservation was in Canada but I was born and raised near Detroit and am currently living in Finland. It’s hard living so far away from your family and country, even harder when you’re literally the only Native in your community, but it’s given me a lot of time to really focus on who I am and what’s really important to me. No matter how far away I travel, I am always Native. I will never lose sight of what is really important.
Can we talk about how the killer cop, Jeronimo Yanez, is Mexican-American? While not white, this terrible example of pathological anti-blackness demonstrates to us that white supremacy can use non-black people of color to uphold its systems of oppression. I know for certain that my fellow Mexicans can personally attest to the abundance of anti-blackness that exists in our communities. Jeronimo murdered Philando and I’ve not heard any of my woke Latinx or Mexican friends say a peep. He’s a monster, right? He’s also your brother, uncle and cousin. Y'all, this is where the ally work matters.
Jeronimo, a brown man, was acquitted not because of his innocence, but because the 10 white jurors were able to identify with his light-skinned Latinx version of anti-blackness–and established an intersectional kinship built on hatred for black people.
While not always wielding a gun, members of our community routinely express and enact anti-blackness. This happens through words and actual violence. Philando’s case may be extreme but it is not unusual. As Latinx folks who often benefit from a hierarchy of racism, we must be vigilant and dutiful in confronting anti-blackness in others and ourselves. As allies for black liberation, the onus is on us to do coalition work and be willing to sacrifice privilege and relationships in pursuit of the struggle. As a queer Chicano, I don’t take responsibility for the existence of white supremacy but I certainly admit that I can do more to confront anti-blackness around me and within myself.
As Philando’s girlfriend Diamond stated: “He was pulled over because, per officer Yanez, he had a wide nose and looked like a suspect.” “God help America,” she continued. Yes, God help America but also let us Latinx folks help each other confront and act on the problem. This time, the problem is ours.
- Miguel Garcia
Miguel Garcia is a native Detroiter and Chicano queer mental and sexual health advocate. He currently works for a community health agency based in Detroit and is completing his degree in Boston.
¿Podemos hablar de cómo el policia asesino, Jerónimo Yáñez, es mexicano-americano? Aunque no sea blanco, este terrible ejemplo de anti-negritud patológica nos demuestra que la supremacía blanca puede utilizar a las ‘personas de color’ que no son negras para defender sus sistemas de opresión. Sé con certeza que mis compatriotas mexicanos pueden atestiguar personalmente la abundancia de anti-negritud que existe en nuestras comunidades. Jerónimo asesinó a Philando y no he oído nada de mis compañeros Latinx o amigos mexicanos que son consientes de estas estructura sociales o “woke” decir ni un pío. Es un monstruo, ¿verdad? También es tu hermano, tío y primo. Compañeros, aquí es donde el trabajo del aliado importa.
Jerónimo, una persona de color no negra, fue absuelto no por su inocencia, sino porque los 10 jurados blancos pudieron identificarse con su versión de anti-negritud al nivel que existe entre Latinx de tonos de piel claras—y estableció un parentesco interseccional construido sobre el odio hacia los negros.
Aunque no siempre manejan un arma, los miembros de nuestra comunidades Latinx rutinariamente expresan y promulgan anti-negritud. Esto sucede a través de las palabras y la violencia. El caso de Philando puede ser extremo pero no es inusual. Como personas de Latinx que se benefician de una jerarquía del racismo, debemos ser vigilantes y obedientes para enfrentar la anti-negritud en los demás y en nosotros mismos. Como aliados para la liberación negra, nos incumbe la tarea de hacer el trabajo de la coalición y estar dispuestos a sacrificar el privilegio y las relaciones en la búsqueda de la lucha. Como un chicano queer, no me responsabilizo de la existencia de la supremacía blanca, pero ciertamente admito que puedo hacer más para enfrentar la anti-negritud alrededor de mí y dentro de mí.
Como dijo Diamond, la novia de Philando, “Lo detuvieron porque, según oficial Yáñez, tenía una nariz ancha y se parecía a un sospechoso.” “Dios ayude a América”, continuó. Sí, Dios ayude a América, pero también permite ayudarnos a nosotros Latinx a enfrentar y actuar en este problema. Esta vez, el problema es nuestro.
- Miguel Garcia
Miguel García es un nativo de Detriot y partidario de Chicano queer salud mental y sexual. Actualmente trabaja para una agencia de salud comunitaria basada en Detroit y está completando su licenciatura en Boston.
These sisters are native Detroiters and
both are in the arts. Sakara is in dance and Anthea is in the visual arts. “This is where
I grew up,” Sakara tells me. “This is what made my imagination go wild.” They tell me stories
about their glory days in the teen HYPE center. Helping Young People Excel is the teen-focused
program at the DPL that provides services and a space for teens to learn, explore or simply hang out. Anthea remembers, “They had a
talent show, a dance party, and they brought in mentors as guest
teachers on various topics.”
Graffiti Women celebrates the rise of female graffiti and street artists. Published in 2006, it was written by Nicholas Ganz.
On this day in music history: September 9, 1983 - “In Heat”, the fourth album by The Romantics is released. Produced by Pete Solley, it is recorded at Criteria Studios in Miami, FL from May - June 1983. Originally formed on Valentine’s Day 1977 and consisting of Jimmy Marinos (drums, vocals), Wally Palmar (rhythm guitar, vocals), Mike Skill (lead guitar) and Rich Cole (bass), The Romantics unique blend of garage rock, power pop and new wave quickly earn them an enthusiastic following in and around their native Detroit, MI. After recording a pair of independent label singles in 1978, they are signed to CBS/Epic subsidiary Nemperor Records in 1979. Their self-titled debut album spins off the hit “What I Like About You” (#41 Pop). The band undergo personnel changes, with original guitarist Mike Skill leaving the band in 1980, and being replaced by Coz Canler during the recording of their next two albums “National Breakout” and “Strictly Personal” (the latter produced by Mike Stone (Queen, Journey) ) in 1980 and 1981. When both of those albums fail to yield any hits, The Romantics feel pressure to produce a hit, or be dropped by their label. Having played a vital role in the band as a songwriter, Mike Skill is asked to re-join the band, this time playing bass, with original bassist Rich Cole being fired. With the bands line up now consisting of Marinos, Palmar, Canler and Skill, they reunite with producer and engineer Pete Solley, returning to the studio in the Spring of 1983 to record their make or break fourth album. Completing the sessions in under a month, they emerge with what becomes their most successful release. It spins off two singles including the classic “Talking In Your Sleep” (#3 Pop, #1 Club Play, #2 Mainstream Rock), which becomes an instant MTV staple, and “One In A Million” (#37 Pop, #22 Mainstream Rock). The album is remastered and reissued on CD in 2012 by Culture Factory Records. "In Heat" peaks at number fourteen on the Billboard Top 200, and is certified Platinum in the US by the RIAA.
do you have any headcanons about phichit and yuuri dragging white people?
anon holy shit this is the best ask to wake up to
ok……. i feel like phichit and yuuri’s reactions are very lowkey and passive aggressive. they hear some shit from yts and they just do the Eye Contact of Color^TM (ECOC), a known glance amongst poc
like someone, whether it be this random white person or one of the european skaters, would be like “omg thailand! it’s so beautiful and ~EXOTIC~ there!! i heard you eat [insert some stereotype of a ~*weird asian food stereoype*~] there? that’s so weird lol!! but i love pad thai!!” and then phichit while texting on his phone is just like “oh ive never been to europe before! i heard you eat snails there? isn’t that CRAZY??” and yuuri’s just cackling in the background
JESUS oh my god or when some white person would try to lecture you on your own damn culture bc they think they know more about you bc they regularly consume anime or thai dramas…. phichit and yuuri just start talking in thai and japanese because if they know so much then why don’t they just go ahead and talk to them in their native languages?
back in detroit during college either yuuri and phichit will burst through their dorm room and be like “you will not BELIEVE what i just heard today” and probably call in leo and guang-hong too (ECOCs between all the skaters of color tho??? Solidarity.)
ok this is only phichit specifically (and possibly leo too) and know i talk about this a lot, but one of my favorite hcs is phichit never being able to burn in the sun bc his skin is so dark. ik this includes the lighter-skinned asians in the show but i see all these beach day art and i just love the fact that ppl like yuuri and yurio and victor have to worry about getting as much sunscreen on and staying in the shade and STILL get burned where phichit slaps on some sunscreen and is like! hey!!! im jus chillin here i love the sun so much what about you guys? and everyone is Dying
On this day in music history: November 10, 1979 - “Heartache Tonight” by the Eagles hits #1 on the Billboard Hot 100 for 1 week. Written by Glenn Frey, Don Henley, Bob Seger and J.D. Souther, it is the fifth chart topping single for the L.A. based rock band. After the huge critical and commercial triumph of the Eagles fifth studio album “Hotel California”, there is intense pressure put on the band by their record label, and by themselves to repeat that success. However, the grind of non stop touring and recording through the 70’s find the band exhausted and tapped out creatively. Looking for inspiration, Don Henley and Glenn Frey collaborate with fellow musicians outside of the band to get the creative juices flowing again. “Heartache Tonight” is written in a jam session at Glenn Frey’s house when friend and fellow Detroit native Bob Seger comes to visit. The pair finish the song with mutual friend, musician and songwriter J.D. Souther and Frey’s band mate Don Henley. Issued as the first single from the band’s sixth album “The Long Run” on September 18, 1979, the single is an immediate smash. Entering the Hot 100 at #52 on October 6, 1979, streaking to the top of the chart five weeks later. “Heartache Tonight also wins the Eagles a Grammy Award for Best Rock Performance by a Duo or Group with Vocal in 1980. "Heartache Tonight” is certified Gold in the US by the RIAA.
This mixtape cemented Lil Yachty’s presence on the rap scene. He’d already
burst onto the scene with “1 Night” and “Minnesota”, but no one really knew
what Yachty had to offer. On this tape—which improves upon “Minnesota” with a
remix including Young Thug and Quavo—we see a full showcase of Lil Boat’s
talent. In the intro, he references his two aliases: “Today I’m gonna tell you
a story about my two nephews, Lil Yachty and Lil Boat.” These two aliases
reference his versatility in his raps, whether it’s lyrical swiftness with his
bars or melodic sing-rap that sounds like a children’s song—a children’s song
from the Zone 6 Precinct in Atlanta.
9. Kendrick Lamar: untitled unmastered.
Holy shit. This album blew me away. When it came out, I wasn’t very excited. We were just coming off of the 2015 seminal release of To Pimp a Butterfly, which made more of an impact on American culture than I can even explain. This album seemed like throwaways from TPAB sessions, but I was wrong. It indeed was a collection of demo tracks that didn’t make the album, but that’s because it seems more like the tracks didn’t fit the concept of the introspective, nearly Dylan-esque protest album from 2015. It’s eight tracks of Kendrick’s new jazz-hop sound and it hits harder than arguably any other Kendrick Lamar project on the first listen. Kendrick didn’t send any message this album; he’s content at the top of the rap game. This seems to be Kendrick paying homage to fans – giving them new music – than an important album. It’s not going to impact culture or be recognized as a legendary work of art like Lamar’s previous two albums. That doesn’t mean it’s not just as good, though. Because it is. This will be a hidden gem of Kendrick’s discography when it’s all said and done.
8. Payroll Giovanni: Big Bossin, Vol. 1
Cardo Got Wings is an established producer in the hip-hop world, working with the likes of Wiz Khalifa, Domo Genesis and Nef the Pharaoh. Payroll Giovanni is a legend in the Detroit rap scene, but hasn’t seen a ton of publicity outside of the Midwest. The two had worked before in the past, but teamed up to create Big Bossin, a great album to enter the summer. You wouldn’t think a Detroit native and a Texas-based producer would create a west coast rap album, but here we are. The album doesn’t have too much depth – it’s classic Payroll rap over orgasmic, deep bass production from Cardo – but it’s a perfect combination and a perfect summer soundtrack.
7. James Blake: The Colour in Anything
I’m a sucker for albums that create an intense feeling. Listening to James Blake’s newest project, the pain and paranoia is almost tangible. Each time I put it on, I feel like I’m walking through the pouring rain thinking about everything there is to think about in life. In addition to the album’s feeling, this is Blake’s most cohesive effort yet. The strong keys combined with the scraps of what’s left of Blake’s EDM influences that he ran with at the beginning of his career create beautifully chaotic noise. Blake’s production gives way to accompany his almost surreal, ethereal voice. It’s an ominous, fragile voice that perfectly captures everything James Blake is about in his music.
6. Kanye West: The Life of Pablo
I could say a lot about this album. Although, after Chance the Rapper’s Coloring Book, it’s becoming evident that Chance may have been the main architect of the album’s organic gospel sound as well as its driving force lyrically, this album still is quintessential Kanye West. In a 180 degree turnaround from the anger-fueled, experimental Yeezus, this album comes from a positive but confused place of Kanye’s heart. The sequencing is chaotic, something I wasn’t a fan of at first. Over time, though, I’ve realized that the sequencing was on purpose. Kanye may be happy, but he’s at a crossroads in his life. He’s cemented himself as a hip-hop legend but wants to keep pushing towards a new frontier, which has had its obstacles. It’s fitting that as this album was rolled out, Kanye was concurrently losing his mind on Twitter. Lyrics have never been Kanye’s strong suit – did you hear him get washed by Chance on “Ultralight Beam”? – but he has some nice moments over some smooth beats. He also enlisted some of the best help you can get with Chance, The Weeknd, Andre 3000, Swizz Beats, Rihanna, Metro Boomin and more. This is yet another seminal Kanye West album that I can’t wait to see age.
5. KAYTRANADA: 99.9%
Some albums don’t need a lot of explaining. One listen through KAYTRANADA’s debut album and you can feel the infectious rhythms coupled with fun, loopy synths and catchy samples. It’s almost like a mix of classic house music with the soundscape of Madvillainy-era Madlib. The Haitian, dancehall influence gives the album depth and creative freedom. Just like KAYTRANADA, the majority of guests (BADBADNOTGOOD, Anderson .Paak and GoldLink, just to name a few) are artists exploring new genres and experimenting with new sounds. One area of Kay’s expertise is his ability to develop chemistry and work with a wide range of artists with varying styles. This album is a collection of new experiments and creative artists all wrapped up in a mellow aesthetic that only KAYTRANADA could create.
4. Beyonce: Lemonade
Ok, I’m going to say it. This is the best pop album since Frank Ocean’s Channel Orange. Beyonce attacks the songs with intensity than she ever has before. The delivery of the “video-album” was Kanye West-esque, with an accompanying film with the album. It was quickly realized that this album was a statement against her husband, Jay Z, which only sparked public interest about the album. The project itself, though, is what makes the album so incredible. The genre bending blues-folk-rock-soul sound that Beyonce implements in this album is breathtaking. From Jack White guitar-shredding on “Don’t Hurt Yourself” to the empowering folk ballad of “Daddy Lessons”, the album explores areas of sound that Beyonce has never done before. The most powerful point in the album comes on “Freedom”, a strong-willed protest song with none other than Kendrick Lamar. The magnum opus of the album, though, is the last song and the most popular single, “Formation”, a statement about the black experience in America, more specifically black women. This album is Beyonce’s best work today – and that says a lot. Middle fingers up.
3. Car Seat Headrest: Teens of Denial
After flipping on the first track, “Fill in the Blank”, I knew that I was in store for a great album. I was captivated by the band’s raw energy channeled through a completely new Indie Rock sound. My issue with a lot of Indie Rock is that it’s eerily close to elevator music. It can be boring and artists in that genre are slow to adapt to new, changing styles. Car Seat Headrest sheds all of the preconceived notions of indie rock bands in this album. The punk-rock, 90’s grunge sound wrapped up in a Yo La Tengo-esque aesthetic makes for a very expansive, unique soundscape. My favorite part of the album, though, comes from lead man Will Toledo’s songwriting abilities. The album is essentially an hour long story about drugs, depression and loneliness. Common themes of bad trips of pyschedelics, apathy, giving up and a lot of drinking appear throughout the project. I want to categorize this project, but I can’t; it’s genre-bending. And that’s what makes it so great.
2. Lil Uzi Vert: Lil Uzi Vert Vs. The
The world has been put on alert. We saw a lot of Philly’s newest
star before this project, with his guest appearances on Young Thug’s Slime Season 2 or his collaboration with
Playboi Carti (“Left Right”) in addition to his LUV is Rage tape from last fall. This project is a full showcase of
Uzi’s ability. The melodies over weird (for lack of a better word) Don Cannon
and Maaly Raw beats in addition to his unique cadences over classic Metro
Boomin production gives a little heat to Uzi fans of all shapes and sizes. It’s
clear to hear an Atlanta rap influence on this music as well as a very heavy
rock influence (Uzi says Marilyn Manson is one of his biggest influences),
something that we’ve never heard before.
1. Chance the Rapper: Coloring Book
Damn, Chance. The 23-year old’s 3rd official mixtape could not have
delivered more. While 2013’s critically
acclaimed release Acid Rap became a
legendary underground mixtape of sorts, Chance the Rapper’s next 3 years had
been relatively quiet. He collaborated with the Social Experiment to create a
live instrumentation album that reeks of positivity—Surf. Although that project got generally favorable reviews, it
wasn’t what fans wanted from Chance. I know I was worried about the young
rapper’s career path. Towards the beginning of 2016, though, things started to
shift. It was rumored he was working with Kanye West on his new album, The Life of Pablo. We didn’t know how
much Chance contributed to the project until the release, when we basically found
out that he was the architect of the album’s general sound. It all comes to
fruition in his verse on the intro track, which catapulted Chance into the
national spotlight. The release of his new tape was important, because the eyes
of the country were keyed in on Chance. And he delivered. The tape was an
embodiment of Chance’s evolution. He’s at a different place than he was during
the drugged-out confusion of Acid Rap. He’s a father and has realized how
successful he is. All of that gave way to a heavy gospel sound to the album,
which was beautifully accompanied by Chance’s excellent songwriting and catchy
melodies. The rap throne is Chancellor Bennett’s for the taking.
On this day in music history: July 10, 1961 - “Tossin’ And Turnin’” by Bobby Lewis hits #1 on the Billboard Hot 100 for 7 weeks, also topping the R&B singles chart for 10 weeks on July 3, 1961. Written by Ritchie Adams and Malou Rene, it is the biggest hit for the R&B singer from Detroit, MI. Early in his career, Lewis is mentored by fellow Detroit native Jackie Wilson who encourages the young singer to go to New York to further his singing career. Within two months of landing in New York, Lewis is signed to Belltone Records, who releases “Tossin’ And Turnin’”. Entering the Hot 100 at #91 on April 24, 1961, it climbs to the top of the chart eleven weeks later.“Tossin’ And Turnin’” also ranks as the number one single of the year by Billboard Magazine. "Tossin’“ has enduring popularity and over the years and appears on many oldies compilations and film soundtracks, including "Animal House” in 1978. In later years, a longer first time true stereo mix of “Tossin’ And Turnin’” remixed from the original multi-track tape is issued. It is released on the compilation “Bobby Lewis - The Complete Recordings” by Hot JWP Music in 2004. Previous releases had featured the edited hit mono single version.
ANYWAY: Etta’s history has always had a big connection to the omnic crisis and omnics in general. her family had a founding hand, and share in the creation of OMNICA CORPRATION; her elder brother ( where he is now, we just don’t know ) had a hand in the expansion of ai capability and cybernetic implantation. SHE’S A DETROIT NATIVE, the Kingston family dumped money into the detroit omnium, some in the are say it was built on their backs with blood sweat and tears. she’s always had a strong connection to omnics. herself crafting some of the finer models compared to the elder models with their outdated carapieces. she always strived for them to be people, and nothing less than that.
when it comes to the omnic crisis she feels as though its obviously something that’s personal and that she needs to correct.
While everyone’s busy being disappointed by the Funimation dub, let’s take a moment to imagine Yuri on Ice with actual realistic voice acting.
Imagine the Japanese characters speaking in perfect Japanese around each other, the Russian characters speaking in perfect Russian around each other, and everyone speaking English in mixed-nationality scenes.
Imagine Yuuri speaking English with an accent that’s appropriate for his background (Japanese native speaker, lived in Detroit for years).
Imagine Viktor and angry!Yuri speaking English with Russian accents, and maybe even attempting some random Japanese here and there.
Seriously, the thing that most strains my suspension of disbelief in this show is the fact that every single person talks in perfect nihongo without this fact being commented on at all. Usually that’s fine but this is an INTERNATIONAL CAST we’re talking about. Not that non-Japanese can’t speak Japanese fluently, but people would at least comment on it or praise them for sounding exactly like native speakers… and having Japanese accents when speaking what is supposedly their “native tongue”.
(And it’s not like Japanese VAs can’t do impressions of what they think is “Japanese as spoken by foreigners” - note that Yuuri’s coach in the first episode spoke Japanese fluently but with a stereotypical American accent. It’s just that Japanese audiences can’t take people speaking like that seriously, so it’s usually used for throwaway/joke characters.)
With a platinum single under his belt, Tee Grizzley is on a mission to takeover.
Fresh off joining Jeezy on “Cold Summer,” the Detroit native is back with a new slapped called “Grizzley Gang”—which kicks off with a clip of Jay-Z saluting him during that 4:44 interview from a few months back.
Check out the Pooh Beatz and Helluva-laced banger below.