Pickles & Privilege

jubrilagoro:

Black People In Medellin, Colombia

Me just sharing my experience of being black in Colombia. This beautiful country has treated me so SO good. Hopefully you will get to visit and see the everything for yourself.

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cultureunseen:

Salute to Sister Soldier Yuri Kochiyama!

Born May 19, 1921 (93 years young and strong)
An extraordinary Japanese American woman who spoke out and fought shoulder-to-shoulder with African Americans, Native Americans, Latinos, Asian Americans, and Whites for social justice, civil rights, and prisoners and women’s rights in the U.S. and internationally for over half a century. A prolific writer and speaker on human rights, Kochiyama has spoken at over 100 colleges and universities and high schools in the U.S. and Canada.

http://www.amazon.com/Heartbeat-Struggle-Revolutionary-Kochiyama-Critical/dp/0816645930

(via twerknugget)

housewifeswag:

raygracy:

ladyfabulous:

fleetwytchmac:

decadentlullaby:

When women used to be depressed or were not “taking care of their men” properly their husbands could send them to the psych ward for attitude adjustments. This was part of conditioning them to always wear a smile. They believed that if a woman saw herself smiling that it would become natural practice and that she would be “cured”. This often went along with shock therapies.

CREEPY.

This gives a whole new level of creepiness to when random men tell you to smile.

You want creepy in that aspect? Read “the yellow wallpaper”.

Here’s a free version of The Yellow Wallpaper… https://www.nlm.nih.gov/literatureofprescription/exhibitionAssets/digitalDocs/The-Yellow-Wall-Paper.pdf for those who want to read it. (I left the link so you could see I wasn’t taking you to meatspin.com. 

housewifeswag:

raygracy:

ladyfabulous:

fleetwytchmac:

decadentlullaby:

When women used to be depressed or were not “taking care of their men” properly their husbands could send them to the psych ward for attitude adjustments. This was part of conditioning them to always wear a smile. They believed that if a woman saw herself smiling that it would become natural practice and that she would be “cured”. This often went along with shock therapies.

CREEPY.

This gives a whole new level of creepiness to when random men tell you to smile.

You want creepy in that aspect? Read “the yellow wallpaper”.

Here’s a free version of The Yellow Wallpaper… https://www.nlm.nih.gov/literatureofprescription/exhibitionAssets/digitalDocs/The-Yellow-Wall-Paper.pdf for those who want to read it. (I left the link so you could see I wasn’t taking you to meatspin.com. 

(via mermaidoutofspace)

An estimated 63 percent of young men between the ages of 11 and 20 who are imprisoned for homicide have killed their mothers’ batterers.

—Kimberle Crenshaw, in her article Intersectionality and Identity Politics: Learning from Violence Against Women of Color. (via supreme-shieldmaiden)

(Source: costumesandconversations, via size10plz)

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.

(Source: melanskyyworld, via whoistorule)

chescaleigh:

cutestpatootie:

This whole Shane Dawson, Sam Pepper, Jenna Marbles foolishness wrapped up in 5 minutes. ( although the focus is on Shane the message applies to them all)

This vlog is EVERYTHING. Why doesn’t he have more subscribers?! 

(via freshest-tittymilk)

odinsblog:

Racial bias in America: from higher suspension rates in preschool, to disproportionate rates of capital punishment, to everything in between, structures of authority routinely allow anti-Black racial bias to color the “facts”, and warp the narrative. And frequently (whether unintentional or otherwise) the police and the media often work together to further criminalize innocent Black victims

1Criminalizing Blackness in America

2. 14-year-old Tremaine McMillian attacked and choked by police, literally while holding a puppy…because McMillian made them “feel threatened” and gave them “dehumanizing stares

3. Author and CNN contributor keithboykin: how the AP slandered Renisha McBride even in death

4.  The Associated Press: when can skin color alone determine who is and who isn’t a looter? (hint: don’t be Black)

5. Lauren Davidson: Disturbing Study Proves That Cops View Black Children Differently 

This implicit racial bias does not magically stop at innocuous events like the VMAs, or in »Hollywood. So far, it doesn’t ever turn off. There are two Americas and racial bias is as ubiquitous as the air we breathe

(via artisticaction)