So. Freaking. Excited.

contrarian-vegetarian:

loveisrespect:

What is Sexual Coercion?
If someone makes you feel obligated or forced to do something you don’t want to, you may be experiencing coercion. By definition, sexual coercion is “the act of using pressure, alcohol or drugs, or force to have sexual contact with someone against his or her will” and includes “persistent attempts to have sexual contact with someone who has already refused.”
Think of sexual coercion as a spectrum or a range. It can vary from someone verbally egging you on to someone actually forcing you to have contact with them. It can be verbal and emotional, in the form of statements that make you feel pressure, guilt or shame. You can also be made to feel forced through more subtle actions. For example, your partner might:
Make you feel like you owe them — for example, because you’re in a relationship, because you’ve had sex before, because they spent money on you or bought you a gift, because you go home with them
Give you compliments that sound extreme or insincere as an attempt to get you to agree to something
Badger you, yell at you, or hold you down
Give you drugs and alcohol to loosen up your inhibitions
Play on the fact that you’re in a relationship, saying things such as: “Sex is the way to prove your love for me” or “If I don’t get sex from you I’ll get it somewhere else”
React negatively (with sadness, anger or resentment) if you say no or don’t immediately agree to something
Continue to pressure you after you say no
Make you feel threatened or afraid of what might happen if you say no
Try to normalize their sexual expectations — for example, “I need it, I’m a guy.”
In a relationship where sexual coercion is occurring, there is a lack of consent, and the coercive partner doesn’t respect the boundaries or wishes of the other.

THIS SO MUCH
your partner forcing you to have sex “because you’re [their] girlfriend” or “you owe [them]” is RAPE. even if they make you say “yes” first. it’s still rape if they’re MAKING YOU DO IT.
I wish I had known this. don’t waste 6 years of your life like I did.

contrarian-vegetarian:

loveisrespect:

What is Sexual Coercion?

If someone makes you feel obligated or forced to do something you don’t want to, you may be experiencing coercion. By definition, sexual coercion is “the act of using pressure, alcohol or drugs, or force to have sexual contact with someone against his or her will” and includes “persistent attempts to have sexual contact with someone who has already refused.”

Think of sexual coercion as a spectrum or a range. It can vary from someone verbally egging you on to someone actually forcing you to have contact with them. It can be verbal and emotional, in the form of statements that make you feel pressure, guilt or shame. You can also be made to feel forced through more subtle actions. For example, your partner might:

  • Make you feel like you owe them — for example, because you’re in a relationship, because you’ve had sex before, because they spent money on you or bought you a gift, because you go home with them
  • Give you compliments that sound extreme or insincere as an attempt to get you to agree to something
  • Badger you, yell at you, or hold you down
  • Give you drugs and alcohol to loosen up your inhibitions
  • Play on the fact that you’re in a relationship, saying things such as: “Sex is the way to prove your love for me” or “If I don’t get sex from you I’ll get it somewhere else”
  • React negatively (with sadness, anger or resentment) if you say no or don’t immediately agree to something
  • Continue to pressure you after you say no
  • Make you feel threatened or afraid of what might happen if you say no
  • Try to normalize their sexual expectations — for example, “I need it, I’m a guy.”

In a relationship where sexual coercion is occurring, there is a lack of consent, and the coercive partner doesn’t respect the boundaries or wishes of the other.

THIS SO MUCH

your partner forcing you to have sex “because you’re [their] girlfriend” or “you owe [them]” is RAPE. even if they make you say “yes” first. it’s still rape if they’re MAKING YOU DO IT.

I wish I had known this. don’t waste 6 years of your life like I did.

(Source: ocadvsa, via adventuresofcesium)

(Source: wholove, via kieranmonroe)

freshiejuice:

lotuslopez:

darkbluetile:

this post is my dream come true

babies with babies

i like that all the mama’s expressions are like “I DID IT! I MADE THESE FUZZY BURRITOS”

(Source: brebearsexybetch, via ticklishbutts)

Here’s some fantastic news for your Friday: On Thursday, the California Senate unanimously approved a new bill that defines sexual consent as a firm “yes” rather than a lack of “no.”

micdotcom:

This is a big win for anti-rape activists, many of whom have been touting the necessity of an “affirmative consent” standard for years. California Gov. Jerry Brown (D) has the next month to sign the bill into law. If he does, schools across the state would be required to define consent before engaging in sexual activity as an “affirmative, conscious, and voluntary agreement” or risk losing state financial aid funding.

(via hersupersoldier)

anthonymackies:

Anthony Mackie photographed by Joe Pugliese.

(via hersupersoldier)

anxius:

flowwrpetal:

these ferguson posts are starting to get on my nerves

I’m sorry that it’s an inconvinience for you to be at home on a computer and have to see people facing police brutality and fighting for their rights

(via bagelbrother)

ticklishbutts:

The basis of most arguments against trans people is that we are not who we say we are, that we are always and only the gender that we were assigned at birth. And so much of that is about having a sense of certainty around gender, that when you were born with a certain set of genitalia, then that must dictate your entire life, and the reality is that that’s not trueA lot of people are not comfortable with that, because then that means they have to begin to question who they are.- Laverne Cox

This woman is coming to my college in September. I am so excited.

(Source: sassyhendrix)

prussianinamerica:

I had a teacher who refused to let any of us say “its okay” because of this exact reason.

prussianinamerica:

I had a teacher who refused to let any of us say “its okay” because of this exact reason.

(Source: blvckvanilla, via pointyhobgoblin)

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.

(Source: melanskyyworld, via racialicious)