nintendo-blisters:

It’s finally happening.
Donald Glover is Miles Morales as Spider-Man.

theblacksophisticate:

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.

The more you know.

theblacksophisticate:

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.

The more you know.

(Source: melanskyyworld)

human-sloth:

this is the most important thing on the internet today

cmdphotography:

Dr King Malcolm X and Garvey - Economics Empowerment

"Be black, buy black, think black, and all else will take care of itself!" -Marcus Garvey

(Source: je-t-aime-la-mode)

imsammarie asked: You love All girls except white girls 😞

prettyboyshyflizzy:

i aint say all that, i love errybody but as far as dating

i just love my black queens shawty but luckily there’s tons of lame self

hating black dudes out there for u, do a twitter search for terms such as

"eww darkskin"

"i hate natural hair"

"black girls are ghetto "

"i dont like black girls"

BUT WAIT THERE’S MOREE!!!!!!!

image

critically acclaimed hits such as

"why don’t they wear weaves"

but they cant make up there mind so we also have

"why do they wear weaves"

"white girls winning"

and my personal favorite

"chance the rapper makes good music"

I wouldnt be a good salesmen if I didn’t show you the product so lets try it out

image

lets try for another result

image

image

ahhh here we go

found the first 3 potential bachelors for u

For the low low price of 3 installments of your pride and dignity

you can be well on your way to finding u a coon black dude who loves snowflakes

happy hunting

and dont forget to tell em flizzy sent ya for a whopping 30 percent off the suggested retail price

image

WOW!! what a deal my heads gonna explode

GADZOOKS!!! 

image

HOW COULD ANYONE PASS UP THIS AMAZING OFFER

Its available for a limited only so call now

1(888)-whitegirlswinning

or

our toll free number 763-thatsmyniggatshirtshalfoff

image

what are ya waiting for

http://jean-luc-gohard.tumblr.com/post/96141979493/mysoulhasgrowndeep-liketherivers-paipo-paipo

mysoulhasgrowndeep-liketherivers:

paipo-paipo:

niggaimdeadass:

"black women thirst over white men as much as black men thirst over white women"

on a scale from 1 - 10 please reblog and put on what level you agree with this and why

ehhhhh i’d say 5/10. we’re taught from birth…

GUYS! I’m finally going to make the Type 1 Diabetic Tumblr List

aradicalbedclerk:

I finally have a week off from uni (yaayyy) and some free time, and I’m going to set up the Type 1 Diabetic Tumblr List to attach to my blog, because having other dia-badasses to talk and connect with can make life with type 1 that little bit easier 

So, if all the Type 1 Diabetics of Tumblr could reblog this and spread the word, I’ll set it up this week. 

californianchanel:

$$$

californianchanel:

$$$

(Source: dieandsing)

deux-zero-deux:

demands-with-menace:

Queen Hatshepsut of Ancient Egypt. She has a lovely smile for someone who’s been dead for thousands of years.

she wasn’t a queen. she was a pharaoh and wanted to be referred to as such. she even had her statues modeled after the male pharaoh’s statues to state her dominance and authority. she was actually one of the most successful pharaohs in all of ancient egyptian history and she reigned longer than any other woman in power in egypt.

deux-zero-deux:

demands-with-menace:

Queen Hatshepsut of Ancient Egypt. She has a lovely smile for someone who’s been dead for thousands of years.

she wasn’t a queen. she was a pharaoh and wanted to be referred to as such. she even had her statues modeled after the male pharaoh’s statues to state her dominance and authority. she was actually one of the most successful pharaohs in all of ancient egyptian history and she reigned longer than any other woman in power in egypt.

(Source: xxerlflynn)