thetrekkiehasthephonebox:

gridbugs:

gwnsstacys:

Nebula and Gamora

This looks like they’re launching into a Broadway-style antagonistic musical number a la Wicked.

I’m glad I’m not the only one who thought that

thetrekkiehasthephonebox:

gridbugs:

gwnsstacys:

Nebula and Gamora

This looks like they’re launching into a Broadway-style antagonistic musical number a la Wicked.

I’m glad I’m not the only one who thought that

(via panichristie)

katiaobinger:

do not pity the dead, harry, pity the living, and above all, those who actually think snape and lily would have been anything like a good couple

(via potato-tots)

working retail

noknuckles:

me: hi how are you today?
customer: JUST LOOKING.

(via laugh-addict)

darning-socks:

Additional stages preceding Stage 4 include, but are not limited to:

  • the scene phase
  • meme-loving fuck
  • incessant roleplayer
  • brainwashed democrat

(via brill-bruisers)

My BFF Coming out to her 89 Year old Grandmother

  • BFF: Grandmother I need to talk to you
  • Grandma: [concerned voice] What? What is it? Are you sick?
  • BFF: No, no. Grandma. I'm gay.
  • Grandma: What?
  • BFF: I'm gay Grandma. I have a girlfriend now.
  • Grandma: [relieved voice] Oh honey, is that all? I thought you had cancer. Anytime someone needs to tell me something they are sick. Who's your girlfriend, when is her birthday? I'll bake her a pie.
amourpizza:

ifagrizzlycouldtalk:

blainekatzman:

im really mad at how accurate this is

A moment of silence for our fallen bearded brother who sacrificed himself for the sake of this disgustingly accurate illustration.

Is that even the same person

amourpizza:

ifagrizzlycouldtalk:

blainekatzman:

im really mad at how accurate this is

A moment of silence for our fallen bearded brother who sacrificed himself for the sake of this disgustingly accurate illustration.

Is that even the same person

(via potato-tots)

omnbvc:

true stories

(via panichristie)

imactuallystraight:

i remember this one time I thought I was straight
but here i am gayer than ever

(via potato-tots)

adamantred:

*casually draws for an au that will probably never see the light of day*

(via skiretehfox)

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.

(via captoring)

asker

Anonymous asked: don't u think the actor who plays larry does a good job tho?? x

orangeskins:

jason biggs playing larry can also be described as

an average white dude playing your average white dude

elizabitchtaylor:

If the point of the Big Bang Theory was to show that male nerds can be just as sexist as male jocks then well done I guess

(via potato-tots)

foreverpruned:

evolutia:

toneverforever:

Post racial Amerikkka

I’m so disgusted.

But its not about race you guys.

foreverpruned:

evolutia:

toneverforever:

Post racial Amerikkka

I’m so disgusted.

But its not about race you guys.

(via potato-tots)

elmatpe:

vixyish:

yondamoegi:

dreamsofjade:

hoganddice:

captkylej:

themaskednegro:

bowiesnippleantennae:

whatarefrogs:

JonTron just linked this image as an example of how men are stereotyped and exploited in video games I’m literally laughing out loud holy shit

for anyone who still doesn’t get it notice the background please

Fun fact: topless slave girls are COLLECTIBLES in this game.

See, the problem is that the guys objectification is empowering. You’re empowered because you’re taking advantage of the other objectified people.

Also, can my followers who like guys please comment on whether or not they find this guy sexually attractive?

nah, too much muscle. Muscle is hard… I want something soft to rest my head on! :P the only guy that i’ve ever been attracted to who has looked like this is Jason Momoa. 

I personally like muscles. I adore them. They fascinate me.
But this Conan doesn’t look sexually attractive. He looks like he’s gonna kill me - he’s intimidating and forceful. I’d better stay away from him.
If he looked like this
I’d say “Well, hello sexy.”
Objectification and sexualization don’t really depend on character’s looks, even if they use it to objectificate and sexualize. They depend on character’s purpose and agency.
A girl character can run around with her titties exposed but still could be not sexualized.

Just my 2 cents

ALL OF THIS.

Perfect way of explaining male power fantasy and sexualization of women (and the ‘male gaze’) ever. 

elmatpe:

vixyish:

yondamoegi:

dreamsofjade:

hoganddice:

captkylej:

themaskednegro:

bowiesnippleantennae:

whatarefrogs:

JonTron just linked this image as an example of how men are stereotyped and exploited in video games I’m literally laughing out loud holy shit

for anyone who still doesn’t get it notice the background please

Fun fact: topless slave girls are COLLECTIBLES in this game.

See, the problem is that the guys objectification is empowering. You’re empowered because you’re taking advantage of the other objectified people.

Also, can my followers who like guys please comment on whether or not they find this guy sexually attractive?

nah, too much muscle. Muscle is hard… I want something soft to rest my head on! :P the only guy that i’ve ever been attracted to who has looked like this is Jason Momoa. 

I personally like muscles. I adore them. They fascinate me.

But this Conan doesn’t look sexually attractive. He looks like he’s gonna kill me - he’s intimidating and forceful. I’d better stay away from him.

If he looked like this

I’d say “Well, hello sexy.”

Objectification and sexualization don’t really depend on character’s looks, even if they use it to objectificate and sexualize. They depend on character’s purpose and agency.

A girl character can run around with her titties exposed but still could be not sexualized.

Just my 2 cents

ALL OF THIS.

Perfect way of explaining male power fantasy and sexualization of women (and the ‘male gaze’) ever. 

(via brill-bruisers)