Don’t be fooled by the attractively colourful and slightly cartoonish signature style of Kenyan artist Michael Soi’s work, for there is a world of seriousness and heavy socio-political undertones in his illustrations.
Soi’s work illustrates visual portraits that serve as social commentary inspired by his observations of daily life in his hometown of Nairobi.
“My work mostly touches on issues related to the youth like fashion trends, music and life in general. I try to create an attitude of what you see might be what you get from it. I am involved in work that deletes, distorts and changes various images into what I want them to be, and am excited by the subtle play that erasure seems to create when executed in certain ways.
“My work is not about the suppression of images or distortion, or the negation of what the image represents, but is about obscuring the images in order to create a different relationship between the final piece and the viewer.
Most of my work is social commentary inspired by the city of Nairobi that addresses everything from this to what we would rather not talk about in public.”
Vintage studio portraits of Fulani women from the Boundou region of Senegal.
Photos that speak: Fuck your fountain. Fuck your tree. Fuck voter suppression. Fuck your labels. Fuck your stereotypes. Fuck your hatred. Fuck your restaurants. Fuck that dude. Fuck police brutality. Fuck white supremacy.
reblogging this again.
Love of My Life (An Ode To Hip Hop) | Erykah Badu ft. Common (Brown Sugar Soundtrack, 2002).
It feels like a simple true love.
if you don’t know this song, unfollow me plz
Erykah Badu’s “Next Lifetime:” Fusing Tradition with Futurism
“Now what am I supposed to do
When I want you in my world
But how can I want you for myself
When I’m already someone’s girl?
I guess I’ll see you next lifetime.”
Times & Places of “Next Lifetime”
1) Motherland, 1637 A.D.
A traditional West African village. Erykah Badu sings about a man that “makes her feel like a little bitty girl” even though she is married to someone else.
2) The Movement: 1968
While wearing a traditional-looking head wrap, Erykah Badu is seen on a modern street setting. She runs into a man on the street passing out fliers (literature) and repeats the mostly the same verses.
3) Power Meeting, December 1968
Erykah Badu stands out from the crowd not just because she’s one of the few women around men, but because while everyone else is wearing hats and white collared shirts, her outfit still resembles traditional clothing. A brick comes through a window of a house occupied by her and other African Americans.
4) Motherland 3037 A.D.
An “Ancient Choosing Ceremony.” Style is mixed with contemporary (raincoats, silver make up) and the traditional (face paint, head wraps, long colorful dresses). It’s like a space-aged African village.
Erykah Badu merges African American histories from Africa to the Civil Rights Movement and uses them to imagine a unique future: one that blends West Africans traditions with an entirely new futuristic society.
And she travels from West Africa to the United States and then back to Africa—perhaps referencing Marcus Garvey and the Back-to-Africa movement. But just maybe.
My cellphone is basically just a clock sitting in my pocket because nobody contacts me
This is the most accurate thing ever.