The.Republic.of.Aisha

so-treu:

stumblequeen:

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.

these posts are amazing
i have a lot of thoughts re: blue-eyed soul happening to hip hop right now esp regarding iggy azalea who was so totally such a calculated hit, an aryan wetdream carefully crafted, trained, backed by a respected emcee (have yall seen them in interviews? there’s one where TI literally paces back and forth behind her chair the whole interview and she looks over her shoulder after every question and/or he jumps on the mic before she can say the wrong thing it’s unreal and then there was the use of maybe THE most influential film — clueless — when it comes to the  coveted demographic of early teen to early 30s aged women (especially white ones but not exclusively because all of these things also play on internalized racism and intra-POC racism so really everyone is invited to help this fake ass bitch destroy hip hop but ANYWAY that was the video tactic coupled with the obviously destined to be a hit as long as everybody did their part song that erybody knows TI ghostwrote and this was the used as the launching pad for this big play for fame and so after that first raunchy ass (yet glossy / high production value for an “indie” lil aussie dollbaby lost in the Southern wild) that got her the magazine feature necessary to get the attention of the people that matter and now we’re at this point where she has made the rounds on the right radio shows — on top of the one i mentioned already, she also did the breakfast club and they went SO EASY ON HER IT WAS SICKENING. again TI showed up and coached her through it and NO ONE CALLS THEM ON IT and like…even charlemagne, who went IN on KANYE for fuck’s sake, and went in HARD, just fucking sat there and smiled at her and complimented her and wished her well and lobbed her softballs. then it’s the BET awards. then the vmas. and so on. because clearly no one was about to pass up *that* opportunity because another thing that never changes is white racist parents wanting to keep their oh so pure and virginal lily white babies from being exposed to that savage devil music the black people make and since you can’t stop kids from liking what they like, it is oh so much more palatable to have them watching a fucking CLUELESS THEMED MUSIC VIDEO with a blonde haired blue eyed thin leggy australian appropriating the everloving shit out of a specific style of southern hip hop than to have them watching a real artist like Nicki. and it is WORKING. i truly believe iggy azalea especially, but not exclusively (justin timberlake, robin thicke, macklemore, miley cyrus, lily allen, and now apparently even taylor fucking swift  were / are a fatal blow to hip hop in the way that blue-eyed soul was to soul and rock music.
(not that hip hop is dead forever but just that history is like a rapidly cycling bipolar racist machine that just does. not. quit.)

^^^^^^^ this shit right here tho!

so-treu:

stumblequeen:

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.

these posts are amazing

i have a lot of thoughts re: blue-eyed soul happening to hip hop right now esp regarding iggy azalea who was so totally such a calculated hit, an aryan wetdream carefully crafted, trained, backed by a respected emcee (have yall seen them in interviews? there’s one where TI literally paces back and forth behind her chair the whole interview and she looks over her shoulder after every question and/or he jumps on the mic before she can say the wrong thing it’s unreal and then there was the use of maybe THE most influential film — clueless — when it comes to the  coveted demographic of early teen to early 30s aged women (especially white ones but not exclusively because all of these things also play on internalized racism and intra-POC racism so really everyone is invited to help this fake ass bitch destroy hip hop but ANYWAY that was the video tactic coupled with the obviously destined to be a hit as long as everybody did their part song that erybody knows TI ghostwrote and this was the used as the launching pad for this big play for fame and so after that first raunchy ass (yet glossy / high production value for an “indie” lil aussie dollbaby lost in the Southern wild) that got her the magazine feature necessary to get the attention of the people that matter and now we’re at this point where she has made the rounds on the right radio shows — on top of the one i mentioned already, she also did the breakfast club and they went SO EASY ON HER IT WAS SICKENING. again TI showed up and coached her through it and NO ONE CALLS THEM ON IT and like…even charlemagne, who went IN on KANYE for fuck’s sake, and went in HARD, just fucking sat there and smiled at her and complimented her and wished her well and lobbed her softballs. then it’s the BET awards. then the vmas. and so on. because clearly no one was about to pass up *that* opportunity because another thing that never changes is white racist parents wanting to keep their oh so pure and virginal lily white babies from being exposed to that savage devil music the black people make and since you can’t stop kids from liking what they like, it is oh so much more palatable to have them watching a fucking CLUELESS THEMED MUSIC VIDEO with a blonde haired blue eyed thin leggy australian appropriating the everloving shit out of a specific style of southern hip hop than to have them watching a real artist like Nicki. and it is WORKING. i truly believe iggy azalea especially, but not exclusively (justin timberlake, robin thicke, macklemore, miley cyrus, lily allen, and now apparently even taylor fucking swift  were / are a fatal blow to hip hop in the way that blue-eyed soul was to soul and rock music.

(not that hip hop is dead forever but just that history is like a rapidly cycling bipolar racist machine that just does. not. quit.)

^^^^^^^ this shit right here tho!

(Source: melanskyyworld)


sometimes i wish i could just hide from the news. it sooooooo depressing AND frustrating AND aggravating AND ugh.


did-you-kno:

Two doctors on a British Airways flight performed a surgery on a woman with a collapsed lung by using a urinary catheter, a wire hanger, a half-filled bottle of Evian, and some 5-star brandy from first class. They not only saved her life, but she was back to normal within 15 minutes. Source

did-you-kno:

Two doctors on a British Airways flight performed a surgery on a woman with a collapsed lung by using a urinary catheter, a wire hanger, a half-filled bottle of Evian, and some 5-star brandy from first class. They not only saved her life, but she was back to normal within 15 minutes. Source


jessehimself:

A 20-year-old girl from South Africa known as Sarah “Saartjie” Baartman was recruited to work in a Paris zoo because of a genetic characteristic known as steatopygia – protuberant buttocks and elongated labia. Whites went to the zoo to look at her buttocks and at other naked Black women with the same shape.

Gawking with desire: since forever and today.

jessehimself:

A 20-year-old girl from South Africa known as Sarah “Saartjie” Baartman was recruited to work in a Paris zoo because of a genetic characteristic known as steatopygia – protuberant buttocks and elongated labia. Whites went to the zoo to look at her buttocks and at other naked Black women with the same shape.

Gawking with desire: since forever and today.