Nº. 1 of  268

But where, then, was the Supreme Caress?

Sarah. twittah.
Questions? Comments? Concerns?
"Respect the delicate ecology of your delusions."

(Source: descentintotyranny, via veganshithead)

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 shmumonzica)

visionsofjoana:


Edward Yang, Zhang Tielin, Stanley Kwan, Hou Hsiao-hsien, Chen Kaige, Ang Lee, and Wong Kar-wai. 1991.

esecarajoconasma

omg

visionsofjoana:

Edward Yang, Zhang Tielin, Stanley Kwan, Hou Hsiao-hsien, Chen Kaige, Ang Lee, and Wong Kar-wai. 1991.

esecarajoconasma

omg

(Source: goodbyedragoninn)

You know, if there was, in fact, reputable scientific evidence that rape is “natural”, ie, it is an evolutionarily developed trait that confers an advantage, the correct solution is not to put the burden on women to protect themselves… we have plenty of natural solutions for animals that can’t control themselves. We made wolves into docile pet dogs by killing all the ones who were aggressive against humans, and we’re still doing it.
I can easily believe that rape could confer enough of an evolutionary advantage that some men would have a predisposition to commit it. Forced sex exists in nature; for instance, up to 53% of duck copulations may be forced on the female by the male. But only in the world where men are the default human, and all men have inalienable human rights, and women are just an afterthought, could this “fact” (if it is in fact true) be interpreted to suggest the solution “women should avoid sexual displays around men.” If women are the ones with the inalienable human rights and men are understood to be violating those rights when they rape, and rapists are perceived to be genetically predisposed predators who “cannot help themselves”, they would have to be killed, or at least sterilized and imprisoned for life, their children (if they had any) monitored carefully for any tendencies to rape and punished just as harshly as their fathers were. Because we would see the “natural” tendency as something that has to be bred out of the human population, and therefore rapists could not be permitted to remain in the gene pool.
The implications of the idea that “rape is natural” are staggering and awful, all right, but in a world where women were actually seen as human beings, they would be staggering and awful for *men*. Men could be legally presumed to be potential rapists until proven otherwise, the way dogs are legally presumed to be dangerous animals unless under the control of a human. Men might suffer from curfews or restrictions on how many men they can be gathered with at any time or other such terrible violations of their civil liberties. Only in a construction of reality where men, like all humans, are in control of their own actions and cannot be absolved of responsibility for any crime on the grounds that they can’t help themselves, can men be granted basic human rights.
These researchers are so deep into a patriarchal, only-men-count paradigm that they don’t even *see* how men being biological predators would have to change how women treat them. Humans do not avoid predators, we *kill* them. We take the territories we want and we displace any creature that preys on humans. The logic of “men are hardwired to prey on women” results in “men, unlike women, are not rational actors who can be trusted to respect other humans’ bodies, and therefore, men must be controlled”… except in patriarchal clown logic, where the rules that humans apply to every other predator on the planet don’t apply to men because men are human and women aren’t.

comment by Alara Rogers on yesmeansyesblog’s article ‘Against Nature’. (via official-mens-frights-activist)

omg

(Source: misandry-mermaid, via mybfrvr)


After Hayao Miyazaki learned that he will receive an Academy Governors Award, he released a humble statement: “Honestly, I don’t think there’s any need to give awards to people who have retired, but nonetheless, it is an honor.”

After Hayao Miyazaki learned that he will receive an Academy Governors Award, he released a humble statement: “Honestly, I don’t think there’s any need to give awards to people who have retired, but nonetheless, it is an honor.”

(Source: preludetowind.com, via andreii-tarkovsky)

dutchster:

i’m glad bo shares my thought on this

dutchster:

i’m glad bo shares my thought on this

(via cinnamon-cute)

hotcocoaloco:

the-bitch-goddess-success:

inyourheadtheyrestillfighting:

slumdog-billionaire:

SIGNAL BOOST:
Warning to all women using the OkCupid dating site/app; if you are matched with this guy DO NOT CONTACT HIM. He has raped two girls and assaulted several, and is known to stalk, harass, and abuse. Police have been notified but no charges were ever filed. Long story short he got away with it every time. If he shows up on your feed, do not answer his messages and please report him. He is extremely dangerous. Be careful. Please reblog to try and keep women safe.

This is really serious. He is the most disgusting and vile human being I have ever come in contact with. He is extremely dangerous and knows how to use his “charm” to his advantage. Please spread this around (especially if you know me in real life since he from my area). You could literally save someone’s life.

holy shit

Damn

hotcocoaloco:

the-bitch-goddess-success:

inyourheadtheyrestillfighting:

slumdog-billionaire:

SIGNAL BOOST:

Warning to all women using the OkCupid dating site/app; if you are matched with this guy DO NOT CONTACT HIM. He has raped two girls and assaulted several, and is known to stalk, harass, and abuse. Police have been notified but no charges were ever filed. Long story short he got away with it every time. If he shows up on your feed, do not answer his messages and please report him. He is extremely dangerous. Be careful. Please reblog to try and keep women safe.

This is really serious. He is the most disgusting and vile human being I have ever come in contact with. He is extremely dangerous and knows how to use his “charm” to his advantage. Please spread this around (especially if you know me in real life since he from my area). You could literally save someone’s life.

holy shit

Damn

(via cinnamon-cute)

night-of-the-iguana:

Only Lovers Left Alive, 2013.

wwweep:

Only Lovers Left Alive (2013) Dir. Jim Jarmusch

Nº. 1 of  268