Brenna. California.

A nocturnal pop culture obsessed disaster.

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I fucking hate Home Depot. Hate it! Because that’s where your childhood goes to die. It really is, it’s where your childhood goes to die. The second… the one day you go in to a Home Depot and you’re like, “Oooo knobs.” You’re dead. You’re dead inside. All of us have had that moment where we’re like, “That’s a cute little mailbox.” Bury your dreams ‘cause you’re not a kid any more.


sirromdrawde:

wacky waco for saint laurent
note: grail worthy

sirromdrawde:

wacky waco for saint laurent

note: grail worthy


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.


can-u-not-my-wayward-son:

i scrolled down for an explanation and there wasn’t one but i think i’m ok with that


irishwolfling:

unclefather:

What does this mean

um we’ve all seen hannah montana i think we know what this means

irishwolfling:

unclefather:

What does this mean

um we’ve all seen hannah montana i think we know what this means


  beautiful  

jonsnowflakes:

Collegehumors’ new video is on point as always


  2real  

When I started making those weird voices, a lot of people told me how whack it was,” she says, “‘What the fuck are you doing?’ they’d say. ‘Why do you sound like that? That doesn’t sound sexy to me.’ And then I started saying, Oh, that’s not sexy to you? Good. I’m going to do it more. Maybe I don’t want to be sexy for you today.


Nicki Minaj (via dannydevitosfoot)

  bae  

sandandglass:

Daily Show correspondent Michael Che tries to find a safe place to report from.


  a+ job  

Q: Do I have to kill the snake?
A: University guidelines state that you have to “defeat” the snake. There are many ways to accomplish this. Lots of students choose to wrestle the snake. Some construct decoys and elaborate traps to confuse and then ensnare the snake. One student brought a flute and played a song to lull the snake to sleep. Then he threw the snake out a window.

Q: Does everyone fight the same snake?
A: No. You will fight one of the many snakes that are kept on campus by the facilities department.

Q: Are the snakes big?
A: We have lots of different snakes. The quality of your work determines which snake you will fight. The better your thesis is, the smaller the snake will be.

Q: Does my thesis adviser pick the snake?
A: No. Your adviser just tells the guy who picks the snakes how good your thesis was.

Q: What does it mean if I get a small snake that is also very strong?
A: Snake-picking is not an exact science. The size of the snake is the main factor. The snake may be very strong, or it may be very weak. It may be of Asian, African, or South American origin. It may constrict its victims and then swallow them whole, or it may use venom to blind and/or paralyze its prey. You shouldn’t read too much into these other characteristics. Although if you get a poisonous snake, it often means that there was a problem with the formatting of your bibliography.

Q: When and where do I fight the snake? Does the school have some kind of pit or arena for snake fights?
A: You fight the snake in the room you have reserved for your defense. The fight generally starts after you have finished answering questions about your thesis. However, the snake will be lurking in the room the whole time and it can strike at any point. If the snake attacks prematurely it’s obviously better to defeat it and get back to the rest of your defense as quickly as possible.

Q: Would someone who wrote a bad thesis and defeated a large snake get the same grade as someone who wrote a good thesis and defeated a small snake?
A: Yes.

Q: So then couldn’t you just fight a snake in lieu of actually writing a thesis?
A: Technically, yes. But in that case the snake would be very big. Very big, indeed.

Q: Could the snake kill me?
A: That almost never happens. But if you’re worried, just make sure that you write a good thesis.

Q: Why do I have to do this?
A: Snake fighting is one of the great traditions of higher education. It may seem somewhat antiquated and silly, like the robes we wear at graduation, but fighting a snake is an important part of the history and culture of every reputable university. Almost everyone with an advanced degree has gone through this process. Notable figures such as John Foster Dulles, Philip Roth, and Doris Kearns Goodwin (to name but a few) have all had to defeat at least one snake in single combat.

Q: This whole snake thing is just a metaphor, right?
A: I assure you, the snakes are very real.


"The Snake Fight Portion of Your Thesis Defense" by Luke Burns (via inevitablerecursion)

glossoblogia:

glossoblogia:

seriously read up on basically everything that happened in pop culture in the 70s and you’ll realize it was just one enormous prank being played on straight people everywhere and it took eight years of reagan to scrub the glitter off of the streets

incidentally feel free to use It Took Eight Years Of Reagan To Scrub The Glitter Off Of The Streets as the title of your next paper for your queer studies 102 class


  2 real    (all of this post)