so someone once called my old english teacher immature (because at this point he was spinning around on a wheely chair) and he said:
“Yeah, but the truth is we never really grow up. We just masquerade as adults because that’s what we’re expected to do.”
and to this day that is the single most profound thing i have ever heard uttered by someone dicking around on a swivel chair
i dont even understand how chocolate frogs would be enjoyable in the harry potter world like for all intents and purposes it acts like a real frog so youd have to clamp it tightly in your hands and then bite its head off and wait for the body to stop convulsing the whole thing sounds awful and what the fuck happens when it starts to melt does it still try to jump and leave increasingly large portions of its body behind, smeared on walls and tables and dying
“
I am not a fan of Quentin Tarantino or his movies. I find his treatment of race, gender and class issues trivial and demeaning, lacking any depth whatsoever.He is a member of a generation of white men who were weaned on a version of Blackness that was served from the shelves of corporate America in the mid-70s. Let him tell it, it was in the theaters watching films like “Shaft” and “Superfly” that he discovered his desire to become a filmmaker.
Blaxploitation films were Hollywood’s answer to the Black Power and Black Arts movements of the late Sixties. In these films we witness the real aspirations of working class Black people at that time as evidenced by organizations such as The Black Panther Party for Self-Defense turned inside out, gutted of all political relevance. These films became the canvas for white men to project their guilt-ridden fantasies of racial retribution. They turned our self-defined expression into a fashion statement, a corporate-sponsored slogan propped up on the billboards that scoured the skylines of ghettos across the country. Tarantino’s fascination with Black culture is not based on actual experience or concern with Black people’s organized struggle for justice, self-determination and liberation. It is based on his coming-of-age white boy experience with commercialized Blackness as filtered through the lens of Hollywood’s B-rated white directors, producers and executives.
”
Ewuare X. Osayande, Still Chained: Django, Tarantino and the Exploitation of Black History (via reclaimingtheblackpeopletag)
Excuse me sir, but I’m fairly certain that nobody had to hold a gun to Samuel L. Jackson’s head and say “You gon’ be in this movie, whether you like it or not, son.”
