9,192 notes
posted 7 hours ago (by: theonion)
theonion:

Man Not Himself Until He Has So Much Coffee He Feels Like He’s Going To Die
4,312 notes
posted 1 day ago (by: ashleighthelion)
ashleighthelion:

Fat Black Girl Takeover.

ashleighthelion:

Fat Black Girl Takeover.

7 notes
posted 1 day ago

nothing like witnessing a religion major request the building maintenence manager to scream away the homeless man sleeping in the doorway.

176,431 notes
posted 1 day ago (by: -teesa-)
666,034 notes
posted 1 day ago (by: milestellers)

thatcurlyhurdgirl:

I will reblog this everyday

151,648 notes
posted 1 day ago (by: princess-neville)

princess-neville:

making fun of girls for having “daddy issues” is literally the most illogically cruel thing i can think of haha “hey you! your dad sucked! i bet that really impacted your life and the way you form relationships with other people lmfao fuckin loser” 

27,183 notes
posted 1 day ago (by: thisisbobbylondon)

thisisbobbylondon:

In response to anyone who thinks they have an fierce inner black woman in them and is not in fact, a black woman

See the thing about that fire and that “fierceness” is that it’s born out of our oppression, out of always being told that we are ugly, that our bodies are too fat or too muscular, that we don’t have the right kind of hair — and having to deconstruct all those things and tell ourselves that we are beautiful even though society is telling us that we are not.  

That strength is born out of always having to defend ourselves against white supremacy and anti-black-woman-patriachy. From years of not seeing ourselves represented in anything aligned with beauty, of buying products that are made to make us look like not ourselves.

So there is no way you could have an inner black woman in you. You have not experienced our struggle, you don’t know it, you haven’t lived it, and you can’t imagine it. 

See, you can’t sit with us, because we haven’t been able to sit at your table since our existence in this country. And while we were being excluded from your table we made our own, and it is fabulous and fly. And of course you now want to try and have a seat at our table, take our table, use it and ignore all the labor that went into creating THAT table.

But nah, sorry boo boo.

You ain’t never going to be us, you can try to wear your hair like us, you can try to dance like us, talk like us, wish you were us, but know this —

YOU-WILL-NEVER-BE-US

107 notes
posted 1 day ago (by: politicalprof)
politicalprof:

This is not a surprise. But it is interesting nonetheless.
ht: 538

politicalprof:

This is not a surprise. But it is interesting nonetheless.

ht: 538

23,259 notes
posted 2 days ago (by: marfmellow)
968 notes
posted 2 days ago (by: iamsuchajerk)
23,086 notes
posted 2 days ago (by: farandolae)

farandolae:

On a serious note though people who idolize serial killers honestly disgust me. Especially when white men who are convicted rapists and murderers are celebrated by wannabe edgy fucks for their “beautifully twisted minds” who wax philosophically about how they shouldn’t be in jail because they’re just poor sensitive lambs lost in society’s evil machine… while black men on minor drug charges rot in jail and no one blinks an eye……

52,327 notes
posted 2 days ago (by: melanskyyworld)
selfpsychiatrist:

atane:

zuky:

nezua:

Flappers shaming Miley Cyrus.

Oddly enough we could say that Miley Cyrus is following solidly in the appropriative footsteps of white flappers, who in the 1920s grabbed national attention and stirred alarmism concerning the end of civilization because they partied to Black music, wore their hair short like Josephine Baker (who fled US racism to become a superstar in Europe), and imitated dance moves from Baker and other Black dancers. The famously flapperesque Charleston was lifted from the African American dance called the Juba, which had West African roots and was danced in secret in the South and the Caribbean. The dance sped up when it reached Harlem, giving birth to both tap dancing and the Broadway hit called The Charleston, which spread like wildfire from there. White people didn’t sway their hips this scandalously prior to that era, making flappers roughly equivalent to white twerkers of the Jazz Age.

This is 100% true. The period from the jazz age to the beat generation, comparatively speaking was the height of cultural appropriation of black art. The beat generation used lingo popularized by Lester Young. They then appropriated the style, dress, and lingo of bebop musicians like Charlie Parker and Dizzy Gillespie, down to the beret, glasses, and soul patch. Bebop musicians, Parker and Gillespie in particular, were the blueprint of their image. Norman Mailer wrote an essay titled “The White Negro" that tackles this phenomenon. I’m no fan of Norman Mailer, but at least he admitted that white people were stealing from blacks. He wrote it in 1957.
With regards to the flappers, apart from Josephine Baker, they also liberally borrowed from black vaudeville performers. They would copy dance moves from black performers, and then introduce it as their own. Many dances attributed to whites are from black vaudeville performers who were forced to perform on the chitlin’ circuit because of segregation and Jim Crow laws.
It really is astonishing how nothing has changed in this regard. For example, people to this day still call Benny Goodman “the king of swing”, when what he did was procure charts for arrangements from Fletcher Henderson, a black man. Goodman’s biggest hits were from Henderson. It’s amazing how much credit Goodman gets for another man’s work. Of course Goodman became “the king of swing”, while Fletcher Henderson remains a footnote in history. How a white man becomes the king of something innovated by blacks is astounding. Benny Goodman is called “the king of swing”. Paul Whiteman is called “the king of jazz”. Elvis Presley is called “the king of rock n roll”. Is Eminem the king of rap? What about Justin Timberlake and Robin Thicke with r&b? Miley is soon on her way to become “the queen of twerking”.
Anyway, apart from getting his charts from Fletcher Henderson, Benny Goodman got his ass handed to him by Chick Webb at the Savoy Ballroom when they had a battle of the bands. Goodman is often noted as being one of the few white men in the segregation era to have black men in his band, and the narrative is typically presented as if he did it out of benevolence. He did it because there was no way to get around the fact that swing music was the domain of black folks, and he poached the best black players he could find to bolster his band, and black musicians went with him because as a white man, he was able to pay them more than black bandleaders, and they wouldn’t have to deal with indignity while traveling. Many hotels refused black bands, so they often had to sleep in cars, bus terminals, or crash at the homes of hospitable blacks. A big portion of Duke Ellington’s money went towards renting out train cars and making sure his orchestra had a place to sleep while on the road because hotels often turned them down because they were black. These were issues Goodman wasn’t going to face. Black musicians certainly didn’t go with him because he was the best. Goodman even later hired Henderson to arrange and play in his band. He wasn’t doing it because he loved black people. Black people were the ones creating and innovating. Where else would he get the best charts and arrangements? Now that the smoke has cleared and the dust has settled, Goodman gets all the credit. Funny how that works.
This stuff has been going on for a long time. Miley is the 2013 version. Twerking has been around for a long time, but Miley convulses on national tv and all of a sudden, dictionary definitions of twerking are made. Definitions complete with no mention of black people, like all this happened in a vacuum. It’s history repeating itself over and over again. I see the same thing happening with afrobeat music.

Suddenly, the whole idea of the white cheer team stealing moves from the black team on Bring It On seems like more of a lame cheer plot. I don’t know if it actually is but I’d like to think a writer/producer added that in there to make a statement.

selfpsychiatrist:

atane:

zuky:

nezua:

Flappers shaming Miley Cyrus.

Oddly enough we could say that Miley Cyrus is following solidly in the appropriative footsteps of white flappers, who in the 1920s grabbed national attention and stirred alarmism concerning the end of civilization because they partied to Black music, wore their hair short like Josephine Baker (who fled US racism to become a superstar in Europe), and imitated dance moves from Baker and other Black dancers. The famously flapperesque Charleston was lifted from the African American dance called the Juba, which had West African roots and was danced in secret in the South and the Caribbean. The dance sped up when it reached Harlem, giving birth to both tap dancing and the Broadway hit called The Charleston, which spread like wildfire from there. White people didn’t sway their hips this scandalously prior to that era, making flappers roughly equivalent to white twerkers of the Jazz Age.

This is 100% true. The period from the jazz age to the beat generation, comparatively speaking was the height of cultural appropriation of black art. The beat generation used lingo popularized by Lester Young. They then appropriated the style, dress, and lingo of bebop musicians like Charlie Parker and Dizzy Gillespie, down to the beret, glasses, and soul patch. Bebop musicians, Parker and Gillespie in particular, were the blueprint of their image. Norman Mailer wrote an essay titled “The White Negro" that tackles this phenomenon. I’m no fan of Norman Mailer, but at least he admitted that white people were stealing from blacks. He wrote it in 1957.

With regards to the flappers, apart from Josephine Baker, they also liberally borrowed from black vaudeville performers. They would copy dance moves from black performers, and then introduce it as their own. Many dances attributed to whites are from black vaudeville performers who were forced to perform on the chitlin’ circuit because of segregation and Jim Crow laws.

It really is astonishing how nothing has changed in this regard. For example, people to this day still call Benny Goodman “the king of swing”, when what he did was procure charts for arrangements from Fletcher Henderson, a black man. Goodman’s biggest hits were from Henderson. It’s amazing how much credit Goodman gets for another man’s work. Of course Goodman became “the king of swing”, while Fletcher Henderson remains a footnote in history. How a white man becomes the king of something innovated by blacks is astounding. Benny Goodman is called “the king of swing”. Paul Whiteman is called “the king of jazz”. Elvis Presley is called “the king of rock n roll”. Is Eminem the king of rap? What about Justin Timberlake and Robin Thicke with r&b? Miley is soon on her way to become “the queen of twerking”.

Anyway, apart from getting his charts from Fletcher Henderson, Benny Goodman got his ass handed to him by Chick Webb at the Savoy Ballroom when they had a battle of the bands. Goodman is often noted as being one of the few white men in the segregation era to have black men in his band, and the narrative is typically presented as if he did it out of benevolence. He did it because there was no way to get around the fact that swing music was the domain of black folks, and he poached the best black players he could find to bolster his band, and black musicians went with him because as a white man, he was able to pay them more than black bandleaders, and they wouldn’t have to deal with indignity while traveling. Many hotels refused black bands, so they often had to sleep in cars, bus terminals, or crash at the homes of hospitable blacks. A big portion of Duke Ellington’s money went towards renting out train cars and making sure his orchestra had a place to sleep while on the road because hotels often turned them down because they were black. These were issues Goodman wasn’t going to face. Black musicians certainly didn’t go with him because he was the best. Goodman even later hired Henderson to arrange and play in his band. He wasn’t doing it because he loved black people. Black people were the ones creating and innovating. Where else would he get the best charts and arrangements? Now that the smoke has cleared and the dust has settled, Goodman gets all the credit. Funny how that works.

This stuff has been going on for a long time. Miley is the 2013 version. Twerking has been around for a long time, but Miley convulses on national tv and all of a sudden, dictionary definitions of twerking are made. Definitions complete with no mention of black people, like all this happened in a vacuum. It’s history repeating itself over and over again. I see the same thing happening with afrobeat music.

Suddenly, the whole idea of the white cheer team stealing moves from the black team on Bring It On seems like more of a lame cheer plot. I don’t know if it actually is but I’d like to think a writer/producer added that in there to make a statement.

99,215 notes
posted 2 days ago (by: exgynocraticgrrl)

kittydoom:

exgynocraticgrrl:

Breaking The Male Code: After Steubenville, A Call To Action

 (Left to Right): Peter Buffett, Jimmie Briggs, Joe Ehrmann, Tony Porter,
 Dave Zirin and Moderator Eve Ensler.

MIC DROP

28,304 notes
posted 2 days ago (by: psyducker)

psyducker:

this is literally my favorite trend ever please never let this die