I am a feminist. I’ve been female for a long time now. I’d be stupid not to be on my own side.
Maya Angelou (via vaguelyhomicidal)

(Source: robert-winchester-novak)

161,014 notes

regularbullshit:

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.

I’m so enlightened.

regularbullshit:

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.

I’m so enlightened.

(Source: melanskyyworld)

52,537 notes

A Halloween PSA

pixiesizedprincess:

Halloween store are popping up, which means that no matter how offensive you find the costumes, DO NOT harass the employees or make their lives miserable by defacing merchandise. They are seasonal, minimum wage workers and attacking them gets you nowhere.

26,017 notes

opalinebaby:

forgetpolitics:

Love how all the POC look 1000% done with this shit.

it’s that time of year again

(Source: fenisoffended)

231,941 notes

maxelectrodillon:

silversarcasm:

reminder to folks not to dress up as a ‘mental patient’ this halloween, mentally ill people are not costumes and the dehumanisation and abuse of us in hospitals is not something to be used for your amusement

seeing people in costume straight-jackets and acting “insane” for laughs can also trigger a lot of people

7,327 notes

… The constant media imagery of Asians as rapacious intruders, combined with frustration over the economy, had a violent impact on Asian Americans. In a two-week period in December 1989, at least nine Asian Americans were attacked on New York streets and subways. In Queens, a group of thirty to forty youths calling themselves the Master Race went on a hate rampage in a video arcade, sending five Asian American boys—two Korean Americans and three Chinese Americans—to the hospital. Across the Hudson River in New Jersey, the Dotbusters, whose name referred to the decorative bindi many Hindu women wear on their foreheads, waged a reign of terror against South Asians during the late 1980s. The Dotbusters violently assaulted several South Asian Americans, but in 1989 the youths who killed Navroze Mody, a thirty-year-old Citibank manager, were sentenced to probation. In a bizarre incident that took place on a crowded Brooklyn-bound N train, a man shoved an egg roll in the face of Chinese American Henry Lau, then stabbed him to death while shouting, “Hey, egg roll!” The New York and New Jersey police refused to prosecute any of these as hate crimes, on the grounds that no racial slurs were used. When the Committee Against Anti-Asian Violence, A New York group founded in 1986 by Monona Yin and Mini Liu, complained to the New York Police Department, the head of the bias crimes unit explained that hate speech or slurs had to be uttered before an attack; if slurs were made during an attack, the police didn’t consider it a bias incident. Asian Americans already had difficulties in overcoming notion that they don’t experience racism; the arbitrary time distinction only added to the victims’ burden.

The rash of violence against Asian Americans extended beyond New York. On January 17, 1989, in Stockton, California, a white man named Patrick Purdy donned military fatigues and a semiautomatic rifle, then drove to his old school, Cleveland Elementary, which had become 70 percent Asian American, mainly refugee children from Southeast Asia. Firing a hundred rounds of ammunition into the school yard where second and third graders were playing, he killed five children—one Vietnamese and four Cambodian; thirty others were injured. Purdy then killed himself. The police chief immediately rejected the possibility of a racial motive. That night, ABC’s Nightline covered the shootings, but Ted Koppel didn’t ask the obvious question: whether race might be a motive. After viewing the program, I called a colleague at ABC News and learned that the newsroom that night discussed the race factor, yet decided that Koppel shouldn’t ask the question, in case the answer was no. But complaints by Asian Americans forced an investigation into the racial aspect of the killings. A special state commission discovered that Purdy often expressed his resentment of Asians—and that anti-Asian racism was most likely the motive for the attack.

With the continued antipathy toward Japan, the list of Asian American hate crime victims grew. Later in 1989, Jim Hing Hai Loo, a Chinese American college student in Raleigh, North Carolina, was killed after Loo and some other Asian American students were harassed at a billiards club. Two white brothers, Lloyd and Robert Piche, said that they didn’t like “Orientals” and called the students “stupid gooks.” They claimed that their “brothers” “didn’t make it back from Vietnam”—when neither they nor any of their brothers had served in the war. The students tried to leave the club, but the Piche brothers went after them, killing Jim Loo. The criminal court found the Piches guilty; Robert was sentenced to thirty-seven years, but Lloyd received only six months, even though he had committed most of the racial harassment. This time, Asian American networks created during the Vincent Chin case succeeded in bringing a federal civil rights prosecution against Lloyd Piche. Finally, in 1991, a jury found him guilty of violating Loo’s civil rights—making Piche the first assailant to be convicted in federal court of racially motivated violence against an Asian American. In an Op-Ed piece for The New York Times entitled “Another American Racism,” I wrote, “Almost as distressing as the rise in such racism has been the failure to acknowledge the anti-Asian racial component of such attacks. Whether expressed by business leaders and politicians in their Japan-bashing, or more overtly, by hate groups, anti-Asian sentiment is rampant.”

1,051 notes

fearfield:

"anime is racially ambiguous" aka "these Asian characters with Asian names and Asian cultural markers made by Asian people don’t look like the hideously caricaturized narrow stereotypes of Asians that I’ve been used to seeing."

23,393 notes

Anonymous said: The author of Hunger Games explained Katniss in a difficult way. How did y'all they were supposed to find a Native American actress with olive skin, naturally straight black hair and grey eyes. Please give me a link to one and I'll shut up forever.

haiweewicci:

racebending:

ulinawi:

sikssaapo-p:

burdenedwithgloriousbooty:

reverseracism:

There’s plenty of lists with Native American actresses you can google yourself.

Gray eyes aren’t a white only trait, nor is Jennifer Lawrence a gray eyed gal. So please do shut up forever.

~Eon

I have grey eyes, and from my highly unscientific observations, grey eyes are the third most common eye colour among NDNs, after black and brown. There’s even Grey Eyes as a surename among some NDNs. 

But I digress. Throw some contact lenses on Q’orianka Kilcher, Keisha Castle-Huges or Jade Willoughby and you still have a better Katniss. 

I have a cousin, who is “full blood, I mean her father, her mother, her grandparents, all Native. and by the Gods - she has green eyes, with hint of like light brown.

I have gray eyes. And I’m an Indian from the same area Katniss is from (Southern Appalachia), mixed like Katniss, and from a coal mining family like Katniss. My brother and cousin both have gray eyes too. And my cousin has a higher BQ than me. So.

The white person cast as Katniss doesn’t have the hair color or skin tone or eye color in the character description and this anon wants to know about NDN eye color.

The white population in America will start declining drastically by 2043.  At the same time, the indigenous population (American Indians, Alaskan Natives, Pacific Islanders) will more than double.  By 2050 1 in 3 Americans will be Latino/Latina.  Whites will be a minority.

If “Panem” was really supposed to be America in the future (what the fuck kind of stupid name is Panem) not only would Katniss be brown, everyone else would be brown too.

2,761 notes