falloutboy:

8/28 - St. Paul, MN @ Minnesota State Fair - MONUMENTOUR 

Aggggahagghahagah

falloutboy:

8/28 - St. Paul, MN @ Minnesota State Fair - MONUMENTOUR 

Aggggahagghahagah

can-u-not-my-wayward-son:

i scrolled down for an explanation and there wasn’t one but i think i’m ok with that

(Source: ratak-monodosico, via lastofthetimeladies)

moarrrmagazine:

What’s in store for me in the direction I don’t take? 
- Adam Lupton

(via lastofthetimeladies)

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 postracialcomments)

jsadiqsfavpics:

sonofdust:

nolloresvato:

wakeupslaves:

Gandhi Spreads Racial Hatred of Africans

Gandhi was passionately prejudiced towards black Africans, as clearly displayed by his own writings over his 21-year stint in Gandhi’s writings during his 20 years in South Africa. He promoted racial hatred, in theory, and campaigned for racial segregation, in practice. In his newspaper, The Indian Opinion, he frequently wrote diatribes against the black community. Of particular concern to him was any contact between Indians and Africans. The following series of quotes, which is but a small selection of his extensive writings on the topic, documents Gandhi’s intense hatred for equal treatment of blacks and Indians, whether in culture or under the law. Indeed, his efforts to improve the status of the Indian community in South Africa were primarily focused on ensuring Africans were treated worse than Indians. His goal, thus was greater social inequality rather than universal equality.

All quotes taken from Collected Works of Mahatma Gandhi (CWMG).

Sept. 26, 1896: “Ours is one continual struggle against a degradation sought to be inflicted upon us by the Europeans, who desire to degrade us to the level of the raw Kaffir* whose occupation is hunting, and whose sole ambition is to collect a certain number of cattle to buy a wife with and, then, pass his life in indolence and nakedness.” — Vol. 1, p. 410

Sept. 24, 1903: “We believe as much in the purity of race as we think they do… We believe also that the white race of South Africa should be the predominating race.” — Vol. 3, p. 256

Feb. 15, 1904: “Under my suggestion, the Town Council must withdraw the Kaffirs from the Location. About this mixing of the Kaffirs with the Indians, I must confess I feel most strongly. I think it is very unfair to the Indian population.” — Vol. 3, p. 429

Sept. 5, 1905: “The decision to open the school for all Coloured children is unjust to the Indian community, and is a departure from the assurance given… that the school will be reserved for Indian children only.” — Vol. 4, p. 402

Sept. 2, 1907: “From these views expressed by a White we have a lesson to learn: We must encourage the Whites too. It is a short-sighted policy to employ, through sheer niggardliness, a Kaffir for washing work. If we keep in view the conditions in this country and patronize the Whites, whenever proper and necessary, then every such White will serve as an advertisement for the Indian trader.” — Vol. 6, p. 276

Feb. 29, 1908: “The British rulers take us to be so lowly and ignorant that they assume that, like the Kaffirs who can be pleased with toys and pins, we can also be fobbed off with trinkets.” — Vol. 8, p. 167

Mar. 7, 1908: “We were all prepared for hardships, but not quite for this experience. We could understand not being classed with the whites, but to be placed on the same level with the Natives seemed too much to put up with.” — Vol. 8, p. 198

Mar. 7, 1908: “Kaffirs are as a rule uncivilised – the convicts even more so…. The reader can easily imagine the plight of the poor Indian thrown into such company!” — Vol. 8, p. 199

Jan. 16, 1909: “I have, though, resolved in my mind on an agitation to ensure that Indian prisoners are not lodged with Kaffirs…. I observed with regret that some Indians were happy to sleep in the same room as the Kaffirs…. This is a matter of shame to us. We may entertain no aversion to Kaffirs, but we cannot ignore the fact that there is no common ground between them and us in the daily affairs of life.” — Vol. 9, p. 257

Jan. 23, 1909: “I acquainted the Governor with what had happened and told him there was urgent need for separate lavatories for Indians. I also told him that Indian prisoners should never be lodged with Kaffirs. The Governor immediately issued an order for a lavatory for Indians to be sent on from the Central Gaol. Thus, from the next day the difficulty about lavatories disappeared.” — Vol. 9, p. 270

June 5, 1909: “I received from General Smuts two books on religion, and I inferred from this that it was not under his orders that I had been subjected to hardships, but that it was the result of his negligence and that of others, as also a consequence of the fact that we are equated with the Kaffirs.” — Vol. 9, p. 355

Dec. 2, 1910: “Some Indians do have contacts with Kaffir women. I think such contacts are fraught with grave danger. Indians would do well to avoid them altogether.” — Vol. 10, p. 414

The term “Kaffir” is a pejorative South African term for black people which is equivalent to the ‘n’ word. Use of this term has been a criminal offense in South Africa since 1975. Despite always using it to describe black Africans, Gandhi was fully aware of the offensive nature of the word. This is demonstrated by Gandhi’s comment during a religious conflict in India, when he said: “If ‘Kaffir’ is a term of opprobrium, how much more so is Chandal?” [CWMG, Vol. 28, p. 62] “Chandal” is a racist term for low-caste Hindus.

Up to a couple years ago all I heard was the “good” side of Gandhi.. Good to know though

damn.

Fuck him too

(via postracialcomments)

I think the saddest people always try their hardest to make people happy

because they know what it’s like to feel absolutely worthless

and they don’t want anyone else to feel like that.

Robin Williams (via skateeofmind)

here, anybody else need their heart broken?

(via llamacake)

(via wrongwaybutfun)

textpostawashinthedickocean:

time-is-a-many-splendored-thing:

douglasmurphy:

rainbowcoffin:

c-h-0-w:

nightwife:

Always reblog

Woah

well he really should have worn more protective clothing if he didn’t want that to happensounds to me like he was asking for it

Are we really sure he was actually shot and decapitated? Idk, sounds like something he would’ve made up. Guys make false decapitation accusations all the time, you know. 

If he didn’t want to be decapitated, he shouldn’t have worn a shirt that showed off his neck

If it’s a legitimate decapitation, the male body has ways to try to shut the whole thing down

textpostawashinthedickocean:

time-is-a-many-splendored-thing:

douglasmurphy:

rainbowcoffin:

c-h-0-w:

nightwife:

Always reblog

Woah

well he really should have worn more protective clothing if he didn’t want that to happen
sounds to me like he was asking for it

Are we really sure he was actually shot and decapitated? Idk, sounds like something he would’ve made up. Guys make false decapitation accusations all the time, you know. 

If he didn’t want to be decapitated, he shouldn’t have worn a shirt that showed off his neck

If it’s a legitimate decapitation, the male body has ways to try to shut the whole thing down

(Source: suzziepsyche, via postracialcomments)

BOOM

the-goddamazon:

invisiblelad:

Perpetual reblogging.

LOL so much was said with so few lines.

(Source: lazarus-fly-bi-nite, via postracialcomments)