Posted 1 hour ago

iwriteaboutfeminism:

Saturday morning, over 1,000 people march for justice for Michael Brown. 

August 30th.

Posted 2 hours ago

thejoyofq:

funimationentertainment:

funimationentertainment:

i feel like this should be recorded in a history book

Beyoncé could give me a fucking 25 cent mood ring and i would pee myself i dont even know how nicki is dealing with this

My eyes actually prickled with tears!

fuck diamonds and capitalism etc, but i love the example being set by these women about female solidarity and friendship. hell yes.

Posted 9 hours ago

co-gi-to:

untamedcomets:

This is important

IMPORTANT. BOOST.

(Source: adventuringasnotagrownup)

Posted 9 hours ago

homingrat:

brujitaxicanita:

paying my medical bills—the current total balance i owe is $1,026 plus charges that are still pending with my insurance. i’m still unemployed at the moment & i would really really appreciate any help—donations (of any size! i have a paypal button in my sidebar) or even just a signal boost! & as always my inbox is open for art requests. thank you so much for your loving hands & hearts 

Literally as I’m posting this my partner is sitting 2 feet away from me calculating their living expenses and having a panic attack. Please consider donating/commissioning some art from them (they are suuuuper talented!), or at the very least please boost this along!!!

Posted 1 day ago
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)

Posted 1 day ago

yrmomschesthair:

knitmeapony:

bisexual-books:

We (Ellie and Sarah) were in Chicago today and this was the main window display at Women and Children First, the feminist book store.  

On the cardboard where it says “Rest In Power” are the names of murdered black people, from Mike Brown to Islan Nettles to ‘my friend’s student’.    To the left two signs read “Injustice is a Feminist Issue” and “Ferguson is a Feminist Issue”.   On the right a sign says “The idea that some lives matter LESS is the root of all that is wrong in the world”.  Below is a selection of books on African American issues or by African American authors, focusing on feminist, womanist, and LGBT themes.  

Across the bottom is a quote by bisexual African Caribbean-American poet and author June Jordan (that’s her yellow book to the left called Some Of Us Did Not Die, which is amazing btw).  The quote reads:

"And what shall we do, we who did not die?  What shall we do now?  How shall we grieve, and cry out loud, and face down despair?  Is there an honorable, non-violent means towards mourning and remembering who and what we loved?"

I love this store so much.

i need to pay this place a visit.

Posted 1 day ago

princesswhatevr:

hannahbelle-lecter:

whisperingsweetsins:

whenblackwasinvogue:

shego:

she put up a video of her telling miyah that she thinks she’s very pretty without the wig too and that playing dress up if fun but to promise to stay in school

Love this!

Stories you won’t see in the media

#nicki is so protective of young girls#this needs to be underlined more#also she gives them edited versions of her albums#magical girls protect other girls#bless nicki

But yet she’s still not a real feminist? Not a good role model?

Nicki Minaj is everything.

Posted 2 days ago

yrmomschesthair:

coldsteelpiercing:

Brass vulva shell weights from @julianganeshadotcom on their way to a new home!

Follow us!
Facebook.com/coldsteelamerica
Coldsteelpiercing.tumblr.com
Instagram @coldsteelpiercing

im dying….i need these

Posted 3 days ago

amabamamare:

Njideka Akunyili Crosby
5 Umezebi St., New Haven, Enugu
2012

Acrylic, charcoal, pastel, color pencil
and xerox transfer on paper
7 ft x 8.75 ft

Posted 3 days ago

nativeamericannews:

Five-year-old Navajo boy sent home from school for his long hair

A five-year-old boy who is a member of the Navajo Nation was sent home from kindergarten for having long hair.
April Wilson said her son, Malachi, was excited for the first day of school on Monday at F.J. Young Elementary in Texas. But he was disappointed when he was told the length of his hair violated school policy.


still happening in  2014!!

(Source: indianz.com)