problackgirl:

we’ve taught girls to romanticise nearly everything a boy does. when i was younger i thought it was cute that boys chased the girl even after she said no. i loved it when after a girl moved away from a kiss, the guy would pull her back and force it on. i thought a guy saying ‘i won’t take a no for an answer’ was passionate and romantic. we’re literally always teaching girls to romanticise abusive traits.

hillarycalhoun:

Holy crap I really REALLY love my friends and I’m so lucky to even know them gosh a lot of things suck so much and are utterly miserable but at least there are these humans who are consistently there and actually care about me wow I can’t believe how cool that is

exgynocraticgrrl:

Tony Porter: A Call To Men
"Tony is the original visionary and co-founder behind A CALL TO MEN: The National Association of Men and Women Committed to Ending Violence Against Women. He is the author of "Well Meaning Men...Breaking Out of the Man Box - Ending Violence Against Women" and the visionary for the book, NFL Dads Dedicated to Daughters.

Tony's message of accountability is welcome and supported by many grassroots and established organizations. He’s currently working with numerous domestic and sexual violence programs, the National Football League, the National Basketball Association, colleges and universities around the country. He has worked with the United States Military Academy at West Point and the United States Naval Academy at Annapolis.

Tony is an international lecturer for the U.S. State Department having worked in the Democratic Republic of the Congo, United Kingdom and Brazil. In addition, he has been a guest presenter for the United Nations' Commission on the Status of Women and has been a script consultant for Law & Order: Special Victims Unit." - (x)
Andrew McMahon in the Wilderness Cecilia and the Satellite
Andrew McMahon in the Wilderness
Cecilia and the Satellite

badsunset:

If I could fly, then I would know

What life looks like from up above and down below

I’d keep you safe, I’d keep you dry

Don’t be afraid, Cecilia, I’m the satellite

And you’re the sky

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.

literally just read an essay for class about this. mainly in the scope of f. scott fitzgerald and gatsby. i feel terrible for even using the word “jazz age” now, since fitz. coined it and was the biggest racist ever. really helped me see the entire book in a different light: it entirely ignores black history’s responsibility for so much of what we see as the “dreamy” roaring 20s. also paints the idea of black people as inferior, inhuman, cartoon characters (ALL THINGS FITZGERALD BELIEVED!!), basically. and yet everyone claims it’s so historically correct. newsflash: pretty much everything you’ve learned about this era isn’t the least bit right. i can’t even remember a time in past past college history course that we talked about racism and oppression of african americans, not in this era or any era. was it in the textbook? barely. did my teacher cover it? you bet he didn’t. 

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.

literally just read an essay for class about this. mainly in the scope of f. scott fitzgerald and gatsby. i feel terrible for even using the word “jazz age” now, since fitz. coined it and was the biggest racist ever. really helped me see the entire book in a different light: it entirely ignores black history’s responsibility for so much of what we see as the “dreamy” roaring 20s. also paints the idea of black people as inferior, inhuman, cartoon characters (ALL THINGS FITZGERALD BELIEVED!!), basically. and yet everyone claims it’s so historically correct. newsflash: pretty much everything you’ve learned about this era isn’t the least bit right. i can’t even remember a time in past past college history course that we talked about racism and oppression of african americans, not in this era or any era. was it in the textbook? barely. did my teacher cover it? you bet he didn’t. 

toomanyaliensinvolvedd:

quinnmccoy:

I want to live in Boston.

I say that about every city I visit after I visit it.

I added Berklee to the list of transfer schools I plan on visiting and/or applying to over the summa so if I end up being a deadbeat music student at a swanky preppy music school (they offer dual degrees so I can be a REAL LIFE HIPPIE and study philosophy and literature and all that shet) I will be living in Boston and you’re invited to everything ever.

<3 LEEEETS

visualtraining:

the most unattractive quality to me in other people is constant belittling of what means a lot to others. being contrarian just to be contrarian. people who love to play devil’s advocate. a kind of smugness about everything. an air of being above everyone because you don’t care about anything deeply like the people you mock

rubyetc:

right now
584

rubyetc:

right now