junk whale
Home Message Archive Random Theme
Daley
24
Twin Cities, MN
I might be an adult but I'm a minor at heart.

coffee, whales, punk rock, aspirational fashion, stomping on oppression, and ineffectively suppressing cat lady impulses.
»

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)

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.
Victor White suicide ruling leads to public scrutiny ↘

black-american-queen:

OK. I KNOW YOU ARE ALL WORRIED ABOUT FERGUSON BUT CAN YOU FOR A SECOND LOOK AT THIS VICTOR WHITE CASE?

NOTHING ADDS UP.

APPARENTLY AFTER BEING SEARCHED TWICE (while handcuffed) HE PRODUCED A GUN AT THE POLICE STATION AND SHOT HIMSELF. HIS DEATH HAS BEEN RULED A SUICIDE.

YOU NEED TO SPREAD THIS TUMBLR. BECAUSE THIS IS BULLSHIT AND THE COPS ARE COVERING IT UP.

Added at 12:37pm10,113 notes

(Source: eye-cancer)


Added at 12:35pm189,468 notes

sunandpunz:

Alright coffee is realllllly sensual guys

(Source: ingyenkredit)


Added at 12:32pm52,385 notes

lunalovegood2:

Sometimes I think about how Martha Jones was offered all of Time and Space and endless adventure and walked away from it because she’d have to spend it with a person that didn’t respect her.

You talk about role models…

Added at 12:28pm407 notes
When you commit to doing something, you make a promise to yourself. And when you break that promise out of laziness, discouragement, or fear, you are only cheating yourself. You are not “getting away with something.” You are only getting away from your own potential. When you commit to making your dream come true, that is the promise you simply decide to never, ever break. It doesn’t matter how many times you get discouraged, or exhausted, or frustrated, you just remember that you have not given yourself the option to quit. That is what commitment is — when the idea of ever stopping your efforts simply doesn’t exist. You have infinite patience and resilience because there is no other option. You have the ability to bear the pain and frustration because you must find a way to beat it. It doesn’t mean it won’t feel hard to press on — it might feel impossible, and yet you still find a way to keep going. You simply always press on. At a certain point, all your effort and energy and power is only directed towards your dream, and you no longer have to waste any energy on trying to motivate yourself to keep going.
Added at 12:23pm1,769 notes
Until I started taking my antidepressants, though, I didn’t actually know that I was depressed. I thought the dark staticky corners were part of who I was. It was the same way I felt before I put on my first pair of glasses at age 14 and suddenly realized that trees weren’t green blobs but intricate filigrees of thousands of individual leaves; I hadn’t known, before, that I couldn’t see the leaves, because I didn’t realize that seeing leaves was a possibility at all. And it wasn’t until I started using tools to counterbalance my depression that I even realized there was depression there to need counterbalancing. I had no idea that not everyone felt the gravitational pull of nothingness, the ongoing, slow-as-molasses feeling of melting down into a lump of clay. I had no way of knowing that what I thought were just my ingrained bad habits — not being able to deposit checks on time, not replying to totally pleasant emails for long enough that friendships were ruined, having silent meltdowns over getting dressed in the morning, even not going to the bathroom despite really, really, really having to pee — weren’t actually my habits at all. They were the habits of depression, which whoa, holy shit, it turns out I had a raging case of.
Added at 12:22pm8,714 notes

odinsblog:

1. PSA: Please don’t try the BS “I have a Black friend” excuse on me again

2. Related: Why so many White people fail to understand Ferguson

3. Personal: Getting real tired of all the calm, analytic “what about this” discussions I hear every single time UNARMED Black people are murdered by the police


Added at 12:18pm10,816 notes

nevver:

A Perfect Day for Bananafish, Ákos Major

(Source: akosmajor.com)


Added at 12:16pm21,506 notes

Richard Ross - Museology

(Source: razorshapes)


Added at 12:16pm3,887 notes

(Source: best-of-imgur)

(Source: pleatedjeans)

micdotcom:

55 Twitter photos from space that will fill you with ethereal wonder

Reid Wiseman is a national treasure.

Follow micdotcom 


Added at 3:30pm158,450 notes
Being born a woman is an awful tragedy. Yes, my consuming desire to mingle with road crews, sailors and soldiers, bar room regulars—to be a part of a scene, anonymous, listening, recording—all is spoiled by the fact that I am a girl, a female always in danger of assault and battery. My consuming interest in men and their lives is often misconstrued as a desire to seduce them, or as an invitation to intimacy. Yet, God, I want to talk to everybody I can as deeply as I can. I want to be able to sleep in an open field, to travel west, to walk freely at night.

Sylvia Plath

fuck every single time that last line gets quoted without the rest

(via sadjailbait)

(Source: raccoonwounds)

Added at 3:25pm174,013 notes