loubs-chanel-versace:

b8in4satan:

LMAOOOOOOOOOOOOOOOOOOOOOOOOOOO YES

Kanye taught her well!!

(Source: bobsburgerraps, via banditmerciless)

1 hour ago / 92723 notes .:.
2 hours ago / 63 notes .:.

kanyeuniversecity:

look how fast his face changed lmaooooooo

(via cudrage)

2 hours ago / 622 notes .:.

coeurandrogyne:

madmanwithsomesocks:

I know you don’t like to talk, but you gotta do it for her.

This arc took a total of three scenes in the season (four if you count the scene where she’s not in the visiting room) and it still carried more weight than everything Larry’s dealt with the entire series.

this guy is like 50000x more important than Larry.

(Source: rhaegare, via beyondtheplanetsandthestars)

3 hours ago / 177407 notes .:.
theillnana:

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.

See also:Mezz Mezzrow

theillnana:

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.

See also:Mezz Mezzrow

(Source: melanskyyworld, via khaleesibeyonce)

3 hours ago / 44126 notes .:.
virginitity:

a true hero

virginitity:

a true hero

(via bellecosby)

3 hours ago / 111386 notes .:.

maghrabiyya:

angrychickpea:

i find it funny that “Baby Got Back” has always been a well-liked song, but as soon as Nicki Minaj samples it and shows off her amazing ass in a video, suddenly OH MY GOD WHAT A SLUT PUT THAT AWAY

like, it’s okay for a guy to talk about how much he loves butts
but it’s not okay for women to love their own butts

funny how that works

people hate it when women love themselves

(Source: , via thegreatestentertainer)



3 hours ago / 65882 notes .:.
3 hours ago / 497 notes .:.

cudiac:

+

Connected to C-Town.

(via cudiac)

4 hours ago / 1126 notes .:.

Audio Posts (So Far). [Updated 8/31/14]

fuckyeahoffthewall:

fuckyeahoffthewall:

The majority of them at least.

This would probably make the best playlist ever. For MJ fans…


[x] Jackson 5 | 2-4-6-8
[x] Jackson 5 | A Fool For You
[x] Jackson 5 | ABC [Alternate Version][Alternate Take]
[x] Jackson 5 | ABC [Rough Studio Mix]
[xJackson 5 | Ain’t Gonna Eat Out My Heart Anymore
[x] Jackson 5 | Ain’t Nothing Like The Real Thing
[x] Jackson 5 | Boogie Man
[x] Jackson 5 | Born To Love You
[x] Jackson 5 | Breezy
[x] Jackson 5 | Buttercup
[x] Jackson 5 | Can You Remember
[x] Jackson 5 | Can’t Hurry Love
[x] Jackson 5 | Coming Home
[x] Jackson 5 | Dancing Machine [Alternate Version][Alternate Take]
[x] Jackson 5 | Dancing Machine [Original  LP Version]
[x] Jackson 5 | Darling Dear [Stripped Version]
[x] Jackson 5 | Doctor My Eyes
[x] Jackson 5 | Don’t Know Why I Love You [Live At The Forum]
[x] Jackson 5 | Don’t Let Your Baby Catch You
[x] Jackson 5 | Everybody Is A Star
[x] Jackson 5 | Get It Together
[x] Jackson 5 | Give Love On Christmas Day [Acapella]
[x] Jackson 5 | Honey Love
[x] Jackson 5 | I Am Love
[x] Jackson 5 | I Hear A Symphony
[x] Jackson 5 | If I Don’t Love You This Way
[x] Jackson 5 | If I Have To Move A Mountain
[xJackson 5 | It’s Great To Be Here
[x] Jackson 5 | Just Because I Love You
[x] Jackson 5 | Label Me Love
[x] Jackson 5 | Love Call
[x] Jackson 5 | Maybe Tomorrow [Live, Goin’ Back To Indiana Special]
[x] Jackson 5 | Money Honey
[x] Jackson 5 | Moving Violation
[x] Jackson 5 | One Day I’ll Marry You
[x] Jackson 5 | Ooh, I’d Love To Be With You
[x] Jackson 5 | Penny Arcade
[x] Jackson 5 | Pride and Joy
[x] Jackson 5 | Ready Or Not Here I Come (Can’t Hide From Love)
[x] Jackson 5 | Reflections
[x] Jackson 5 | Superstition [Live from Japan]
[x] Jackson 5 | Through Thick And Thin
[x] Jackson 5 | To Know
[x] Jackson 5 | Touch
[x] Jackson 5 | Uppermost
[x] Jackson 5 | What You Don’t Know
[x] Jackson 5 | Who’s Lovin’ You [Live At The Forum][1970]
[x] Jackson 5 | Would Ya? Would Ya?
[x] The Jacksons | Ben [Live][Triumph Tour]
[x] The Jacksons | Bless His Soul
[x] The Jacksons | Blues Away
[x] The Jacksons | Dancing Machine [Live][Destiny Tour]
[x] The Jacksons | Different Kind Of Lady
[x] The Jacksons | Different Kind Of Lady [Alternate Version][Picture Disc]
[x] The Jacksons | Dreamer
[x] The Jacksons | Even Though You’re Gone
[x] The Jacksons | Everybody
[x] The Jacksons | Find Me A Girl
[x] The Jacksons | Get It Together [Live][Destiny Tour]
[x] The Jacksons | Give It Up
[x] The Jacksons | I Am Love [Live][Destiny Tour]
[x] The Jacksons | Keep On Dancing [Live][Destiny Tour]
[x] The Jacksons | Off The Wall [Live][Triumph Tour]
[x] The Jacksons | Shake Your Body (Down To The Ground)[Special 12” Mix]
[x] The Jacksons | She’s Out Of My Life [Live][Triumph Tour]
[x] The Jacksons | Show You The Way To Go
[x] The Jacksons | Style Of Life
[x] The Jacksons | That’s What You Get (For Being Polite)
[x] The Jacksons | Things I Do For You [Live][Destiny Tour]
[x] The Jacksons | Think Happy
[x] The Jacksons | Time Waits For No One
[x] The Jacksons | Walk Right Now
[x] The Jacksons | Your Ways
[x] Michael Jackson | Burn This Disco Out
[x] Michael Jackson | Can’t Get Outta The Rain
[x] Michael Jackson | Dapper Dan
[x] Michael Jackson | Dear Michael 
[x] Michael Jackson | Don’t Let It Get You Down
[x] Michael Jackson | Don’t Stop ‘Til You Get Enough [Demo]
[x] Michael Jackson | Euphoria
[x] Michael Jackson | Get On The Floor
[x] Michael Jackson | Girlfriend
[x] Michael Jackson | Give Me Half A Chance
[x] Michael Jackson | Got To Be There [Stripped Mix]
[x] Michael Jackson | Here I Am
[x] Michael Jackson | I Can’t Help It
[x] Michael Jackson | I Was Made To Love Her
[x] Michael Jackson | It’s The Falling In Love
[x] Michael Jackson | Maria (You Were The Only One)
[x] Michael Jackson | Off The Wall Medley [HIStory Tour]
[x] Michael Jackson | One Day In Your Life
[x] Michael Jackson | Rock With You [Acapella]
[x] Michael Jackson | Rock With You [Q-tip Remix]
[x] Michael Jackson | She’s Out Of My Life [Demo]
[x] Michael Jackson | Sunset Driver 
[x] Michael Jackson | Things I Do For You [Live][Bad Tour]
[x] Michael Jackson | We’re Almost There [DJ Spinna Remix]
[x] Michael Jackson | We’ve Got Forever
[x] Michael Jackson | What Goes Around Comes Around
[x] Michael Jackson | When I Come Of Age
[x] Michael Jackson | When You Wish Upon A Star
[x] Michael Jackson | With A Child’s Heart
[x] Michael Jackson | With A Child’s Heart [Stripped Version]
[x] Michael Jackson | Workin’ Day And Night
[x] Michael Jackson | Workin’ Day And Night [Demo]
[x] Michael Jackson | Workin’ Day And Night [Immortal Version]
[x] Michael Jackson | You Can’t Win [Movie Version]
[x] Michael Jackson | You’ve Got A Friend

[xCarole Bayer Sager | Just Friends ft. Michael Jackson 
[x] The Brothers Johnson | This Had To Be ft. Michael Jackson [Background Vocals/Adlibs]
[xDave Mason | Save Me ft. Michael Jackson 
[xJackie Jackson | Do I Owe [Background Vocals]
[x] Janelle Monae | Lettin’ Go!
[x] Joe “King” Carrasco and The Crowns | Don’t Let A Woman (Make A Fool Out of You) ft. Michael Jackson
[x] Minnie Riperton | I’m In Love Again ft. Michael Jackson 
[x] Quincy Jones | The Dude
[x] Stevie Wonder | All I Do ft. Michael Jackson [Background Vocals]

Oh..

[x] Michael Jackson | Lisa, It’s Your Birthday

I’ve been fixing the ones that were down. I’m still working on it but if you guys find any let me know.

(via fuckyeahoffthewall)



5 hours ago / 64 notes .:.