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Sep 30, 2014 / 1,745 notes

dynamicafrica:

Fernando Cabral featured in the MENSWEAR: Opening Ceremony Fall/Winter 2014 Lookbook

Opening Ceremony's continued to slaughter the game with its latest mens lookbook shot by HART+LËSHKINA sees minimal, clean and progressive art direction with spot on styling.

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(pictures & text via wetheurban)

Sep 30, 2014 / 99,212 notes

(via frankocean)

Sep 30, 2014 / 3,426 notes
maza-dohta:

I should open a bookstore
Sep 30, 2014 / 228 notes

maza-dohta:

I should open a bookstore

Sep 30, 2014 / 10 notes

iiwolfhaleyii:

Whores’ Glory

(via masherbrum786)

Sep 29, 2014 / 22,544 notes

africa-will-unite:

cheetahspeed:

thanoblesavage:

Rest in Power

The Messiah

El Hajj Malik El Shabazz

Our Champion

We have so many jesus in our history we can study to change our reality, but my people prefer to celebrate & study white jesus smh

(via negro-stein)

fuckyeahfamousblackgirls:

Karen Alexander (1988) for Vogue UK.
Sep 29, 2014 / 733 notes

fuckyeahfamousblackgirls:

Karen Alexander (1988) for Vogue UK.

(via abstrackafricana)

Sep 28, 2014 / 1,777 notes

(via moonandtrees)

Sep 28, 2014

Jordan Rakei ft Gwen Bunn - Street Lights

Sep 26, 2014 / 392 notes

dynamicafrica:

Speakers For The Dead: Documentary about the original black settlers of Priceville, Ontario Canada.

When Irish settlers first moved to the area now known as Priceville in Ontario Canada, to their surprise, they found a community of black people already living there.

This documentary reveals some of the hidden history of black people in Canada.

In the 1930s in rural Ontario, a farmer buried the tombstones of a black cemetery to make way for a potato patch. In the 1980s, descendants of the original settlers, Black and White, came together to restore the cemetery, but there were hidden truths no one wanted to discuss.

Deep racial wounds were opened. Scenes of the cemetery excavation, interviews with residents and re-enactments—including one of a baseball game where a broken headstone is used for home plate—add to the film’s emotional intensity.

By Jennifer Holness, & David Sutherland, 2000.

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(via abstrackafricana)