Yes, poor little old you. There we were, discussing rape, violence against women, systemic oppression and other manifestations of sexism, and you had to jump in to remind us that “not all men” do these things. Why don’t you really say what you want to say? “I HAVE NEVER RAPED/HIT/ASSAULTED A WOMAN!” Right? Isn’t this what you really want to say? Yes, make a discussion that is about the plight of MILLIONS of women about poor little old you. I mean, millions of women are being assaulted and oppressed, but you’ve never done it, so why are we making you uncomfortable with these discussions?

Brenda Wambui breaking down the ridiculous “Not all men!” phrase over at Medium. Top-notch work. (via itmac)

In a fucking nutshell, men’s ego trumps all.

(via princesswhatevr)

(via shinykari)

theladymonsters:

i’m waiting for someone to write epic meta on why the reason bucky is so popular with female fans is bc his storyline being about being stripped of agency and personal autonomy resonates particularly with female experiences

(via misandryad)

hungrylikethewolfie:

pearlsandserpents:

justalittlelostt:

thechangelingmedusa:

Like seriously, why isn’t pole dancing an olympic sport? This is freakin gymnastics. This is strength and skill. This is not sexual whatsoever. Why does pole dancing have to be so stigmatised as a sexual thing that only strippers do? I have great respect for all people who can pull this off. This is art and beauty right here. 

miss-mimibee

holy jesus

Yet again: strippers invented this shit, okay?  The act and art of performing gymnastics on a pole, no; what the vast majority of the Western world thinks of when they think of “pole dancing”, yes; what is pictured directly above, yes.

Stop associating stripping with stigma.  Stop encouraging the belief that something can’t be sexual in origin and still impressive, or that things created by sex workers can’t be art.

Pole dancing is associated with stripping because strippers were the ones who created it.  Full stop.  The end.  And none of that should decrease your admiration for it the single slightest bit.

(via compromised-by-castiel)

  • breakfast: 3pm
  • dinner: 11pm
  • more food: 1am
  • midnight snack: 4am

constant-instigator:

constant-instigator:

You can have a “he” a “she” and a “xe” in the scene all together, and  be able to use pronouns to tell who is doing what. It’s just super helpful.

           

Normalising pronoun preferences for genderqueer people is reason #1 to include genderqueer characters in your writing.

Normalising pronoun preferences for cis folks is #47

Showing that your crack investigative team does not make close-minded assumptions about assassins is reason #479.

Yeah, basically.

I think normalising in general, irrespective of audience, might have positive outcomes for genderqueer people. Like, it would be SO NICE if there never had to be another discussion along the lines of ‘but you can’t just use gender neutral pronouns because I haven’t heard of them before’. But then, that in itself doesn’t do anything to break down the idea of a gender binary. In my tag example, it’s just a place-holder for gender before the gender of the character becomes apparent in the narrative. There is, in my little tag thoughts, no genderqueer character and so it’s not really ‘normalising pronoun preferences for genderqueer people’ at all. It’s just avoiding the binary for a little bit.

Like I said, I got off topic :/

constant-instigator:

You can have a “he” a “she” and a “xe” in the scene all together, and  be able to use pronouns to tell who is doing what. It’s just super helpful.

(via queermomdoodles)

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.

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.

(via ysabette)

yungterra:

yungterra:

look at this fucking opossum

image

image

(via misandryad)

lampsarepeopletoo:

didnt expect to laugh but i did

(via misandryad)

thewingedshadow:

somebody took a picture of you I guess

(via ladydeathfaerie)