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.

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.

(Source: melanskyyworld)

queenofchalices:

FUCKING THANK YOU!!

queenofchalices:

FUCKING THANK YOU!!

(Source: tastefullyoffensive)

Anonymous asked:

You're a stupid nigger. You hate white people so much but without them you wouldn't have the McDonald's you so clearly love you fat fucking loser

cosmicblackdick:

sxyblkboi:

playboydreamz:

unrivaledbeauty:

paranormal-blacktivity:

If it weren’t for black people you wouldn’t have:

  • air conditioning unit: Frederick M. Jones; July 12, 1949
  • almanac: Benjamin Banneker; Approx 1791
  • auto cut-off switch: Granville T. Woods; January 1,1839
  • auto fishing devise: G. Cook; May 30, 1899
  • automatic gear shift: Richard Spikes; February 28, 1932
  • baby buggy: W.H. Richardson; June 18, 1899
  • bicycle frame: L.R. Johnson; Octber 10, 1899
  • biscuit cutter: A.P. Ashbourne; November 30, 1875
  • blood plasma bag: Charles Drew; Approx. 1945
  • cellular phone: Henry T. Sampson; July 6, 1971
  • chamber commode: T. Elkins; January 3, 1897
  • clothes dryer: G. T. Sampson; June 6, 1862
  • curtain rod: S. R. Scratton; November 30, 1889
  • curtain rod support: William S. Grant; August 4, 1896
  • door knob: O. Dorsey; December 10, 1878
  • door stop: O. Dorsey; December 10, 1878
  • dust pan: Lawrence P. Ray; August 3, 1897
  • egg beater: Willie Johnson; February 5, 1884
  • electric lampbulb: Lewis Latimer; March 21, 1882
  • elevator: Alexander Miles; October 11, 1867
  • eye protector: P. Johnson; November 2, 1880
  • fire escape ladder: J. W. Winters; May 7, 1878
  • fire extinguisher: T. Marshall; October 26, 1872
  • folding bed: L. C. Bailey; July 18, 1899
  • folding chair: Brody & Surgwar; June 11, 1889
  • fountain pen: W. B. Purvis; January 7, 1890
  • furniture caster: O. A. Fisher; 1878
  • gas mask: Garrett Morgan; October 13, 1914
  • golf tee: T. Grant; December 12, 1899
  • guitar: Robert F. Flemming, Jr. March 3, 1886
  • hair brush: Lydia O. Newman; November 15,18–
  • hand stamp: Walter B. Purvis; February 27, 1883
  • horse shoe: J. Ricks; March 30, 1885
  • ice cream scooper: A. L. Cralle; February 2, 1897
  • improv. sugar making: Norbet Rillieux; December 10, 1846
  • insect-destroyer gun: A. C. Richard; February 28, 1899
  • ironing board: Sarah Boone; December 30, 1887
  • key chain: F. J. Loudin; January 9, 1894
  • lantern: Michael C. Harvey; August 19, 1884
  • lawn mower: L. A. Burr; May 19, 1889
  • lawn sprinkler: J. W. Smith; May 4, 1897
  • lemon squeezer: J. Thomas White; December 8, 1893
  • lock: W. A. Martin; July 23, 18–
  • lubricating cup: Ellijah McCoy; November 15, 1895
  • lunch pail: James Robinson; 1887
  • mail box: Paul L. Downing; October 27, 1891
  • mop: Thomas W. Stewart; June 11, 1893
  • motor: Frederick M. Jones; June 27, 1939
  • peanut butter: George Washington Carver; 1896
  • pencil sharpener: J. L. Love; November 23, 1897
  • record player arm: Joseph Hunger Dickenson January 8, 1819
  • refrigerator: J. Standard; June 14, 1891
  • riding saddles: W. D. Davis; October 6, 1895
  • rolling pin: John W. Reed; 1864
  • shampoo headrest: C. O. Bailiff; October 11, 1898
  • spark plug: Edmond Berger; February 2, 1839
  • stethoscope: Imhotep; Ancient Egypt
  • stove: T. A. Carrington; July 25, 1876
  • straightening comb: Madam C. J. Walker; Approx 1905
  • street sweeper: Charles B. Brooks; March 17, 1890
  • phone transmitter: Granville T. Woods; December 2, 1884
  • thermostat control: Frederick M. Jones; February 23, 1960
  • traffic light: Garrett Morgan; November 20, 1923
  • tricycle: M. A. Cherry; May 6, 1886
  • typewriter: Burridge & Marshman; April 7, 1885

BUT OH MAN WHAT WILL WE DO WITHOUT MCDONALDS :(((

This is the greatest response in history

DRAG HIM!!!!

That’ll do it!

But yall wanna bottom for white men.

yagazieemezi:

Space Age Buildings of Africa

Throughout the world, the 1950’s Space Age was known for its beautiful, bold architecture,full of swooshy curves and spaceship-shaped buildings. But some of the most vibrant and retro-futuristic buildings of the Space Age can be found in Africa. Here are the most amazing architectural achievements from Space-Age Africa. By Vince Miklos.

  1. Mausoleum of Agostinho Neto, the first president of independent Angola in Luanda, Angola
  2. Building in Warri, Nigeria
  3. Kariakoo Market in Dar es Salaam, Tanzania
  4. Memorial to the Martyrs in Ouagadougou, the capital city of Burkina Faso
  5. Bujumbura International Airport, Bujumbura, Burundi
  6. The CNPS building (The National Social Insurance Fund):
  7. St. Paul’s Cathedral in Abidjan, Côte d’Ivoire (Ivory Coast), designed by Aldo Spirito, consecrated in 1980
  8. The National Assembly, the parliament of Cameroon

See more here

Website / Facebook / Twitter / Instagram

Dedicated to the Cultural Preservation of the African Aesthetic

koyohmi:

phoenix about to drop the sickest defense rap in the history of law

koyohmi:

phoenix about to drop the sickest defense rap in the history of law

I found out about this amazing comic called #hafrocentic at #afropunk2014

I found out about this amazing comic called #hafrocentic at #afropunk2014

dhrupad:

Arvind Desai Ki Ajeeb Dastaan (1979)

pussinpradaboots:

unpretty-princess:

little-parenthesisineternity:

Honestly one of the most interesting and awesome things I have ever seen in my life. When a community stands together, the FULL community stands together. God Bless Ferguson.

Holy shit the solidarity

Reblog the fuck out of this!!!

pussinpradaboots:

unpretty-princess:

little-parenthesisineternity:

Honestly one of the most interesting and awesome things I have ever seen in my life. When a community stands together, the FULL community stands together. God Bless Ferguson.

Holy shit the solidarity

Reblog the fuck out of this!!!

koreaunderground:

globalpoetics:

The Violent Xenophobic Racism in Ireland

At 9pm last Tuesday, 44-year-old Chinese doctor, Wu Youzhong, went to investigate the sound of breaking glass outside his home in Coleraine, County Londonderry, in Ireland. When he arrived at his front door, he saw that the window had been smashed. An intruder then attacked him so violently that he had to be admitted to hospital for several days, and required consultation from an eye specialist. Dr Wu’s wife, Luo Ruoyin, said, “I heard he was just screaming in pain and I was scared. He was just holding his head and covering his eyes and blood was just running down everywhere.” The police are treating the attack as racially motivated; the couple, who have a two-year-old daughter, are reported to be intending to move away from the area.

The Chinese community in Ireland has long been a target of racial discrimination. Anna Lo, an Alliance Party politician born in Hong Kong who was elected to the Ireland Assembly in 2007, was the first politician from an ethnic minority at national level in Ireland, as well as the first East Asian to be elected anywhere in Britain. Her campaign was dogged by violent racism – including death threats – to the extent that she had to carry a panic alarm as a precaution. One far-Right website published pornographic images of Chinese women, alongside derogatory references to Anna Lo. “People from ethnic minorities are very frightened,” she said. “I have never seen ethnic minorities so fearful in Ireland.”

Read More: http://blogs.telegraph.co.uk/news/jakewallissimons/100181659/sectarian-hatred-is-being-overtaken-by-xenophobic-racism-in-northern-ireland/

the crumbling myth of white supremacy. white supremacy is violent. white supremacy is destructive. white supremacy is pervasive. white supremacy kills.

grijzegans:

MAD Magazine recreates Norman Rockwell’s famous 1958 painting ‘The Runaway’