It Is What It Is

Now Go Change It.

We had a lot of trouble with western mental health workers who came here immediately after the genocide and we had to ask some of them to leave.

They came and their practice did not involve being outside in the sun where you begin to feel better. There was no music or drumming to get your blood flowing again. There was no sense that everyone had taken the day off so that the entire community could come together to try to lift you up and bring you back to joy. There was no acknowledgement of the depression as something invasive and external that could actually be cast out again.

Instead they would take people one at a time into these dingy little rooms and have them sit around for an hour or so and talk about bad things that had happened to them. We had to ask them to leave.

—   ~A Rwandan talking to a western writer, Andrew Solomon, about his experience with western mental health and depression.

From The Moth podcast, ‘Notes on an Exorcism’. (via jacobwren)

(Source: facebook.com, via porpentine)

genderoftheday:

Today’s Gender of the day is: The Atlantic Ocean

genderoftheday:

Today’s Gender of the day is: The Atlantic Ocean

socialjusticekoolaid:

Protesters from across St Louis turned up and turned out for the first St Louis County Council Meeting since Mike Brown’s Death. (Part IV)

And now for the side show… the STL County Council/police fail at being empathetic, and tone deaf white people are tone deaf (and white). #staywoke #farfromover

(via hannahinreverie)

tj:

Astoundingly awful story of “every day” sexism and racism from @iSmashFizzle.

If you can’t read it here, see this timeline that I put together.

(Thanks to Matt for explaining how Twitter’s timeline feature wörks.)

(via hannahinreverie)

notmargaery:

*university voice* unfortunately… we have too much money… so we have to raise tuition so we can build a place to keep all the other money in… so sorry unavoidable

(via shoobado)

What You Crave vs What You Need

Chocolate:

Raw nuts/seeds.

Oily/Fatty Snacks:

Kale, leafy greens.

Soda/Carbonated Drinks:

Actual, literal bubbles.

Chips/Salty Food:

Topsoil.

Cookies:

Freudian psychology.

Sweet Tea:

A strong Southern gentleman to take care of you.

Pasta/Carbs:

Pasta/Carbs.

Ice:

The sweet release of death.

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 hannahinreverie)

vulcandroid:

nice gender did your parents pick it out for you

(Source: ofhounds, via littlenonbinarythings)

i-effed-it-all-up:

u know how sometimes if u eat too much of a certain food you get sick of it

like my mom used to make spaghetti several times a week for YEARS bc it was quick and easy so now im kinda “meh” about spaghetti

you know that feeling??

that’s how i feel about white cis male protagonists

(via memoirsofagremlin)

genderoftheday:

Today’s Gender of the day is: Decline

genderoftheday:

Today’s Gender of the day is: Decline

(via wuqs)

fullten:

When little black girls, especially little black dark skin girls, enter this world it is very clear, the rules are made very aware, who is beautiful, and valued, and who is not. Simply because we are black, simply because we are not white, we are deemed inferior, unintelligent, and ugly. 

You would rather paint your white women brown, then dare allow a black woman exist and be deemed as beautiful. It is not our place to be called beautiful unless there is a catch, unless there is an asterisk. “You’re pretty!*” 

*for a black girl 

You will spend money tanning, but call black women monkeys and ‘dirty’, our hair styles are ghetto, till your magazine has a step by step tutorial on how to achieve the same look, so it’s not ghetto, it’s just ghetto on us. It ‘works’ on you. 

We are taught certain rules when we are young, ‘You look so much prettier with straight hair!’ ‘Oh, thank god she light skin,’ ‘Don’t stay out in the sun you’ll look burnt,’ ‘Yeah but that hair isn’t professional-‘ 

We are taught to hide, to assimilate, to be close to whiteness because whiteness is acceptable and we are not. We get these rules as children. So to grow up, learning and adapting to these rules, and then seeing white people praised for stealing our culture, our dress,

if a photo of us dressed like that appeared on the news, people would say any injustice we faced, was deserved, ‘look at them, dressed like that.’

But you can wear it, freely, without judgement, without risk. No one would say you deserved to die. No one would give your killer half of a million dollars, as basically a congratulations, a pat on the back, for murdering you. 

Just our natural being is a threat to you, we are born villains to you. We possess this great threat, but at the same time, you look down on us, expect us to be stupid, low class, dirty… we are not on your level, you still see us as your servants in your culture, but pretend to be the gods in ours. 

It’s confusing. It’s confusing to be a black woman, to be made a joke, and all the punch lines, our hair, skin tone, lips, body… you try to imitate, but it’s not that, it isn’t, it’s our very existence that’s a joke to you. And if you are white, and reading this, and offended, 

Fuck you. 

Fuck you, fuck your whole ancestry line, and fuck your future generations. 

top image from here 

(via africancheewahwah)

enattendantlesoleil:

me during classes

  • "that’s racist"
  • "that’s sexist"
  • "there are more than two genders"
  • "ok but could we maybe not use that word"
  • "that’s ableist"
  • "there aren’t enough girls in here"

(via snapcracklenope)