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, via wtfhistory)

micdotcom:

Watch: Female Russian cosmonaut is a boss, shuts down sexist reporter 

"Can you tell me more about your everyday life on the station? How are you planning to do your hair?"
That was an actual question asked of Yelena Serova at press conference about her upcoming trip to the ISS. Apparently only female cosmonauts can be asked about their hair and grooming routines, even if they’re about to make history.   
Her answer is amazing | Follow micdotcom

micdotcom:

Watch: Female Russian cosmonaut is a boss, shuts down sexist reporter 

"Can you tell me more about your everyday life on the station? How are you planning to do your hair?"

That was an actual question asked of Yelena Serova at press conference about her upcoming trip to the ISS. Apparently only female cosmonauts can be asked about their hair and grooming routines, even if they’re about to make history.   

Her answer is amazing | Follow micdotcom

(via gender-and-science)

wtfhistory:

bentohiro:

rroserade:

sources: [1] [2] [3] [4]

also an addendum to the hunger games slide, when they put out a casting call for the role of Katniss, they specifically asked for only caucasian actors to audition, which left out any possibility for any amazing PoC actors to have been discovered.

i hope this was informational and i didnt leave anything major out. if anything is wrong or needs to be updated, message me and i’l fix any fallacies!

A lot of white people who do black face think they are being “respectful”. That’s a result of ignorance. It’s not okay, obviously, but please don’t post their personal information such as their phone number and address in order to “teach them a lesson”. They’re just dumb, ignorant, white people who won’t do it anymore if they’re told why it’s racist.

Oh look, historical reasoning for some fucked up shit. It fits on my blog, yes it does.

(Source: spoopris)

howtobeterrell:

sapphrikah:

guitarbains:

~why is this book telling me george washington is a hero when he raped, murdered, and tortured people like me to get paid?

~why is this book telling me abraham lincoln graciously freed the slaves when he just wanted to save the union and thought people like me were inferior?

Why is this book telling me Egypt is in the Middle East and not apart of Africa ?

howtobeterrell:

sapphrikah:

guitarbains:

~why is this book telling me george washington is a hero when he raped, murdered, and tortured people like me to get paid?

~why is this book telling me abraham lincoln graciously freed the slaves when he just wanted to save the union and thought people like me were inferior?

Why is this book telling me Egypt is in the Middle East and not apart of Africa ?

(Source: talented10th, via wtfhistory)

"The worst part is that this is a self-fulfilling prophecy: If men make an assumption that women aren’t great at tech, then those men won’t help mentor women. Women will then start believing they aren’t great at tech or feel alienated from the community. As a result, there will be no women in tech, which just perpetuates the stereotype and the cycle.

Last year, soon after I’d moved into a co-working space, I was working on yet another Saturday afternoon. A fellow founder in the space — a male, early forties — started chatting with me. He’d just started working on his own startup, and had a question.

“I see you in here every day working late, and on the weekends. I’m building out my own team and was just wondering how he keeps you motivated to work so hard?”

“What do you mean?” I asked. I was thoroughly confused. “Its my own startup. Of course I’m motivated.”

“Ohhh,” his voiced trailed off. “I just thought… well, I just assumed he was the founder.” The guy pointed at Marcin’s desk. Marcin just happened to be the only male on the team who worked in that office."
- Nikki Durkin, “I’m tired of being a ‘woman in tech’” (via dailydot)

(via gender-and-science)