Toa's Place

roomforfamily:

Shoutouts to Fractals for reblogging this marvel from princesscest.

hecallsmepineappleprincess:

baringitallforlove:

nobbiedanger:

yo good luck beating this in 2015

The best Cinderella there ever was

You can’t top this.

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.

jamatadon:

nowyoukno:

Source for more facts follow NowYouKno

the best virus ever

jamatadon:

nowyoukno:

Source for more facts follow NowYouKno

the best virus ever

Parents: Don't forget to make us proud
Friends: Don't forget to socialize
Teachers: Don't forget to get A's
Strangers: Don't forget to blend in
That Cute Girl: Don't forget to look good
Society: Don't forget to be perfect
Tumblr: Fuck the world, at least you haven't murdered somebody today
Tumblr: But just in case you want to get away with it, here are some tips.

cattailsandcattales:

urbies:

Great moments in tv history

The best part is how the hand giving the cigarette doesn’t belong to anyone in the room—no one is wearing that shirt.

Three simple rules in life. 1. If you do not go after what you want, you’ll never have it. 2. If you do not ask, the answer will always be no. 3. If you do not step forward, you will always be in the same place.
(via wild-spirit)
aos-skimmons:

that-big-gay-impala:

THE SARCASM IN THIS POST IN LETHAL

woman mothers.

aos-skimmons:

that-big-gay-impala:

THE SARCASM IN THIS POST IN LETHAL

woman mothers.

yosuke-rolling-in-a-trash-can:

rainamermaid:

memewhore:

sean3116:

sixpenceee:

As someone who wants to study the human consciousness I found this very interesting.

Scott Routley was a “vegetable”. A car accident seriously injured both sides of his brain, and for 12 years, he was completely unresponsive.

Unable to speak or track people with his eyes, it seemed that Routley was unaware of his surroundings, and doctors assumed he was lost in limbo. They were wrong.

In 2012, Professor Adrian Owen decided to run tests on comatose patients like Scott Routley. Curious if some “vegetables” were actually conscious, Owen put Routley in an fMRI and told him to imagine walking through his home. Suddenly, the brain scan showed activity. Routley not only heard Owen, he was responding.

Next, the two worked out a code. Owen asked a series of “yes or no” questions, and if the answer was “yes,” Routley thought about walking around his house. If the answer was “no,” Routley thought about playing tennis.

These different actions showed activity different parts of the brain. Owen started off with easy questions like, “Is the sky blue?” However, they changed medical science when Owen asked, “Are you in pain?” and Routley answered, “No.” It was the first time a comatose patient with serious brain damage had let doctors know about his condition.

While Scott Routley is still trapped in his body, he finally has a way to reach out to the people around him. This finding has huge implications.

SOURCE

HOLY STEAMING SHITFUCKS

WHY IS EVERYONE NOT LOSING THEIR SHIT ABOUT THIS

What a fucking nightmare, just kill me.

I know a girl who was hit by a drunk driver and in that state for a year. When she woke up the first thing she did was tell off the doctor who tried to convince her mom to pull the plug. She heard *everything* while being called brain dead.

OH MY FUCK

stability:

sniffing:

finally beating a level you were stuck on for hours

image

getting stuck on the next level

image

thelordofhats:

ultrafacts:

Source For more facts follow Ultrafacts

Freeing the slave was nice, but wouldn’t be that huge of a thing.
Smashing the cups, though? I’m just imagining that Augustus was just walking along one day and saw the slave-owner trying to kill his slave, so he just goes over, tells the slave ‘yo, you’re free’, and then, never breaking his gaze from the slaveowner, casually sweeps all the other cups off the shelf too.
It’s just such a wonderful little ‘fuck you’.

thelordofhats:

ultrafacts:

Source For more facts follow Ultrafacts

Freeing the slave was nice, but wouldn’t be that huge of a thing.

Smashing the cups, though? I’m just imagining that Augustus was just walking along one day and saw the slave-owner trying to kill his slave, so he just goes over, tells the slave ‘yo, you’re free’, and then, never breaking his gaze from the slaveowner, casually sweeps all the other cups off the shelf too.

It’s just such a wonderful little ‘fuck you’.

dftba-winchesters:

might-catch-my-crazy:

normalisntmyforte:

underwon:

my brain has too many tabs open

Most accurate thing ever

I can’t find the one that is playing that fucking song

This explains so much

mimo004:

Elsa,What’s your type of guy?

mimo004:

Elsa,What’s your type of guy?