clambistro:

New Media continues to struggle

clambistro:

New Media continues to struggle

(via marxisforbros)

  • 2014 internet atheist bro: so tragic that the great artists of the renaissance forced to paint jesus over and over
  • 2119 communist anime cyborg: the golden age of AAA console gaming...wasted on military shooters....like tears in the rain

(Source : iraffiruse, via marxisforbros)

think-thank-thunk:

Me flirting

Tags: ;)

science-of-noise:

nativeamericannews:

Proposal filed for Wampanoag language public charter school
The Wopanaak Language Reclamation Project submitted a proposal to start a public charter school.The Weetumuw Wopanaak Charter School is targeted at Wampanoag tribes in the state. But enrollment will be open to anyone as part of the public system. 

This is personally interesting to me because I grew up in Maryland where Native Americans were considered practically ancient and only really studied through the prism of America colonialism (though a teacher at my elementary school was part Native American, but at 7 I didn’t really grok that).  Then I moved to New Mexico, in an area where over a third of the population is Native American (mostly Navajo), and the Navajo language has a very visible though underprivileged presence.  Now I’m back on the east coast, and perhaps the local Native American languages are staging a comeback.

science-of-noise:

nativeamericannews:

Proposal filed for Wampanoag language public charter school

The Wopanaak Language Reclamation Project submitted a proposal to start a public charter school.
The Weetumuw Wopanaak Charter School is targeted at Wampanoag tribes in the state. But enrollment will be open to anyone as part of the public system.

This is personally interesting to me because I grew up in Maryland where Native Americans were considered practically ancient and only really studied through the prism of America colonialism (though a teacher at my elementary school was part Native American, but at 7 I didn’t really grok that).  Then I moved to New Mexico, in an area where over a third of the population is Native American (mostly Navajo), and the Navajo language has a very visible though underprivileged presence.  Now I’m back on the east coast, and perhaps the local Native American languages are staging a comeback.

(Source : indianz.com, via linguisten)

Harry Potter and the Philosopher’s Stone | Behind The Scenes

(Source : stuckwith-harry, via wiseyoungravenclaw)

blaizezamboni:

okay no but lily actually heard james die. like she heard him fighting voldemort and she heard a thump as his body hit the ground and she knew for a brief moment that no matter what happened next james was dead. she knew that even if by some miracle she and harry made it out alive the love of her life, her best friend was dead and oh god my heart is breaking

(Source : panzyparkinson, via puffle-huff)

tastefullyoffensive:

[spiderwebbing]

weasleywrinkles:

kittykat1087:

imsirius:

Mark Williams and Julie Walters behind the scenes of Bill&Fleur’s wedding

This should have just been put in the movie, as mr and mrs weasley probably dance just like this.

THIS IS GOLD

(via puffle-huff)

thetrekkiehasthephonebox:

And that’s the story of how Nichelle Nichols stuck with Star Trek after the first season.

(Source : trekgate, via puffle-huff)

biblioteknician:

You know, one thing in the Harry Potter fandom always confuses me: Talking about Neville as though he could have been The Boy Who Lived. Because from the information we’re given, he couldn’t.

And it has nothing to do with Neville. Or Harry. Neville absolutely proved that he is just as strong and brave and selfless and possibly more badass than Harry. I adore Neville. But he couldn’t have been The Boy Who Lived.

Because it had nothing to do with either of them, and everything to do with Snape. 

If it wasn’t for Snape’s obsession with Lily, Voldemort would have won that night. Snape begged Voldemort to spare her, and because of that, Lily was given a choice. Voldemort killed James without a second thought, but because of Snape, he asked Lily to step aside. She refused. And that is how the protective spell was cast. 

If that spell had just been about dying to protect someone, Lily and Harry both would have been protected when James died. But James never really had a choice- Voldemort was always going to kill him. It was Lily’s act of refusing to allow Voldemort near Harry when she was presented with the option to save her own life that triggered the spell.

Which is why it couldn’t have been Neville. Unless a different Death Eater had been in love with Frank or Alice and been willing to plead with Voldemort for their life, all three of them would have died if Voldemort had decided Neville was the child from the prophecy. He would have killed them all without a second thought.

Which is why, as annoying as it is for me to say it (I am not a Snape fan at all) it was Snape who allowed Harry to be The Boy Who Lived.

(via wiseyoungravenclaw)

daftlypunk:

i hit my coworkers shoulder lightly and he was like “you’re going to make me cry like a girl” and i was like “what’s wrong with being a girl?” and he was quiet for a moment then he looked into the distance and whispered “the social standards they’re forced to live by”

(via puffle-huff)

tastefullyoffensive:

The best costume spotted at Disneyland’s 10k race today. [adamlc6]

tastefullyoffensive:

The best costume spotted at Disneyland’s 10k race today. [adamlc6]

(via puffle-huff)

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 everythingpermitted)