smidgetz:

g-aesthetic:

smidgetz:

I’m trying to find Rufus & Chaka Khan’s full discography and….I can’t and the torrents I got aren’t doing anything. I’m so mad.

You’re probably gon have to pay for that.

i have the vinyls but i want them on my computer :/

Perhaps you should get a turntable that will convert your vinyl to mp3s.


There are many to choose from — and they aren’t crazy expensive, either. Here’s a 2014 top 10 review.
http://vinyl-converter-turntable-review.toptenreviews.com/

dynamicafrica:

Recent six-time U.S. Open winner Serena Williams has been called everything from the greatest American tennis player ever, to America’s greatest athlete. But, unfortunately, these are not the only names and titles she’s been given.
It seems with every astounding win, people are out to crush her through the most despicable means. A mixture of sexism and racism at play, Serena highlights one thing about America (and perhaps the world): black women, no matter how accomplished, are undeserving of their accolades and, at worst, are stripped of their humanity time and time again.
From “The Frisky”:

Buried within the comments section of such stories of American victory, tells the reality that a Black woman does not represent America to White Americans. Nor is she worthy of support or even much deserved congratulations. The general consensus by such White people? Serena Williams, like President Obama, should be dehumanized and ridiculed merely because of her skin color. Here are some examples that represent the general consensus reached by many White commenters:

This paints a more clear picture of a modern White America that is not only racially intolerant but openly hateful. Through that lens, Serena’s strength cannot be appreciated as the strength of a woman because she is a Black woman — an animal at best and Obama’s son at worst. A vile, disgusting monkey with an attitude problem. The racial stereotypes invoked within those comment threads are attached to names and faces of individuals who are real. People whose profile pictures are sweet images of little, innocent children and babies, soldiers, both young and middle-aged White men and women smiling at the world in simple head shots. White people who obviously do not view Black people as people.
(read more)

dynamicafrica:

Recent six-time U.S. Open winner Serena Williams has been called everything from the greatest American tennis player ever, to America’s greatest athlete. But, unfortunately, these are not the only names and titles she’s been given.

It seems with every astounding win, people are out to crush her through the most despicable means. A mixture of sexism and racism at play, Serena highlights one thing about America (and perhaps the world): black women, no matter how accomplished, are undeserving of their accolades and, at worst, are stripped of their humanity time and time again.

From “The Frisky”:

Buried within the comments section of such stories of American victory, tells the reality that a Black woman does not represent America to White Americans. Nor is she worthy of support or even much deserved congratulations. The general consensus by such White people? Serena Williams, like President Obama, should be dehumanized and ridiculed merely because of her skin color. Here are some examples that represent the general consensus reached by many White commenters:

This paints a more clear picture of a modern White America that is not only racially intolerant but openly hateful. Through that lens, Serena’s strength cannot be appreciated as the strength of a woman because she is a Black woman — an animal at best and Obama’s son at worst. A vile, disgusting monkey with an attitude problem. The racial stereotypes invoked within those comment threads are attached to names and faces of individuals who are real. People whose profile pictures are sweet images of little, innocent children and babies, soldiers, both young and middle-aged White men and women smiling at the world in simple head shots. White people who obviously do not view Black people as people.

(read more)

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.

  • tv: white girls are beautiful!
  • magazines: white girls are beautiful!
  • media: white girls are beautiful!
  • society: white girls are beautiful!
  • white feminists: (white) girls are beautiful!
  • black girl: black girls are beautiful!
  • white feminists: UMMMM EXCUSE ME???? DON'T YOU MEAN ALL GIRLS ARE BEAUTIFUL????
s
s
s

aadatart:

EXHIBITION: Black Chronicles II at Rivington Place, London, UK from September 12 – November 29, 2014

Autograph ABP presents Black Chronicles II, a new exhibition exploring black presences in 19th and early 20th century Britain, through the prism of photography – particularly studio portraiture. The exhibition presents over 200 photographs, which present new knowledge and offer different ways of seeing the black subject in Victorian Britain, and contribute to an ongoing process of redressing persistent ‘absence’ within the historical record.

Learn more in The Art List: 16 International Art Exhibitions to See This September

Join us: Twitter | Instagram | Facebook | Google+ | ART SHOP

endnegativity:

The amazing fan-turned-into-official poster for the comedy I am most excited to see has just been released!
Dear White People has just released the poster for their movie, coming out October 17th!
Check the full story here!
What a brilliant poster that ever POC with hair any way like this should relate to!

endnegativity:

The amazing fan-turned-into-official poster for the comedy I am most excited to see has just been released!

Dear White People has just released the poster for their movie, coming out October 17th!

Check the full story here!

What a brilliant poster that ever POC with hair any way like this should relate to!

potootagath:

wingleader:

wakeupslaves:

the-goddamazon:

LOL man.

never forget white people did nothing first neither the best, they sleep and eat false propaganda,

Ugh, why the shit does that have to turn into a race thing? Why does EVERYTHING have to turn into a race thing?

because white people have made sure that everything is about race
as proved by the fact that when you say explorer, you think of a bunch of white guys walking the world and discovering it ~exotic wonders~ even though Zheng He travelled through Asia, to the Middle East, and even East Africa. But you’d likely never heard of him before.
Same reason you never heard of Ahmad Ibn Fadlan, an Arab traveller who, as early as the 10th century, went to the Volga area for diplomatic reasons. He wrote about it, much as Marco Polo would do later for his own travels, and is one of our sources on what viking were like (and by all accounts, he wrote about them more accurately than western scholars of the same period did)
Oh, or Ibn Battuta who travelled throughout Africa long before europeans did, and even went to Europe himself.
And that’s just some example of Muslim medieval travel writers
Everything is about race because white people keep telling everyone that their race is the only one who every got anything done.

potootagath:

wingleader:

wakeupslaves:

the-goddamazon:

LOL man.

never forget white people did nothing first neither the best, they sleep and eat false propaganda,

Ugh, why the shit does that have to turn into a race thing? Why does EVERYTHING have to turn into a race thing?

because white people have made sure that everything is about race

as proved by the fact that when you say explorer, you think of a bunch of white guys walking the world and discovering it ~exotic wonders~ even though Zheng He travelled through Asia, to the Middle East, and even East Africa. But you’d likely never heard of him before.

Same reason you never heard of Ahmad Ibn Fadlan, an Arab traveller who, as early as the 10th century, went to the Volga area for diplomatic reasons. He wrote about it, much as Marco Polo would do later for his own travels, and is one of our sources on what viking were like (and by all accounts, he wrote about them more accurately than western scholars of the same period did)

Oh, or Ibn Battuta who travelled throughout Africa long before europeans did, and even went to Europe himself.

And that’s just some example of Muslim medieval travel writers

Everything is about race because white people keep telling everyone that their race is the only one who every got anything done.

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