[Note: The image above has been making the rounds of social media recently. Adrienne K.…
Can’t see the video? Here’s a basic transcript:
I’d like to call this blog “Twerkin’ in the U.S.A.”
Now, lately Miley Cyrus has been putting herself ass first into the hip-hop scene. And you won’t guess where that ass showed up next. Big Sean has this song called “Fire,” and I like this song. You know, he raps about overcoming adversity and manages to avoid saying “ass” 30 times for the chorus. SO the message and the lyrics are nice and the beat is pretty on point to match it.
Then there’s the video, which is basically just Miley Cyrus in different slightly revealing clothes, some fire and an exploding flower. Now the visuals are dope and Miley Cyrus is attractive, but that doesn’t really have much to do with the actual song itself. Oh but luckily he explains via Twitter. He says “Miley is symbolic of strong women overcoming heartbreak.”
Vato, you ain’t fooling nooobody with that shit. Let’s be honest that’s not why you did it. Cause plenty of actresses, models, stars, whathaveyou could’ve easily filled that metaphor. Megan Good, Adriana Lima, and apparently Levy Tran is down to do whatever type of music video gig.
So I will give it to you, those visuals were sick and at the very least you didn’t use an exaggeratedly muscular WWE create-a-wrestler version of yourself for your music video. (see Kanye West’s Blkkk Skkkn Head music video) But let’s be real. Big Sean. Miley. Y’all used each other. Sean, you used Miley Cyrus for the fact that she’s currently a buzz word in pop culture right now. So what did Miley get to use from this? Read the Post Twerkin’ in the USA: On Big Sean and Miley Cyrus
[Editor’s note: We know…we know…enough with the Harlem Shake! This dissection by Sezin Koehler was…
In The Nation, Aura Bogado offers an open letter actress Michelle Williams, who donned braids, feathers,…
It’s not a new idea–we’ve certainly seen it raising its ugly head in media repeatedly, but it’s become popular again–the “flipped prejudice” fiction. Victoria Foyt’s racist Save The Pearls did it for race and we now have the homophobic versions: a Kickstarter for the book Out by Laura Preble and the film Love Is All You Need. I hate linking to them but they need to be seen. They both have the same premise: an all gay world that persecutes the straight minority.
So that’s more appropriating the issues we live with: our history, our suffering, and then shitting on it all by making us the perpetrators of the violations committed against us. How can they not see how offensive this is? How can they not see how offensive taking the severe bigotry thrown at us every day and throughout history–bigotry that has cost us so much and then making our oppressors the victims and us the attackers–is? This is appropriative. This is offensive. It’s disrespectful–and it’s outright bigoted.
Read the Post Reverse Oppression: A Fad That Needs To End
Last week at Racialicious HQ, we were delighted to see the term “hipster racism”–coined by our very own Carmen Van Kerckhove in 2006*–suddenly enter mainstream parlance, thanks to Jezebel’s publication of Lindy West’s “A Guide to Hipster Racism.” In a flash, the words “hipster racism” papered themselves across Facebook and Twitter feeds across the continent (and maybe the world?). Words are wonderful, and when more people have access to language that helps them name the racism of everyday life, we’re happy.
There was only one glitch. While West linked to one Racialicious post (a short piece Carmen wrote in 2007 about white girls and gang signs) she never once name-checks Racialicious or Carmen…or any of our amazing pals and allies who have been writing about this stuff since the main target was Gwen Stefani’s Harajuku Girls (i.e. a long time ago).
On the one hand, no one takes up social-justice work to see their name in lights and, at the end of the day, the point is just to get the message across, no matter who gives it the signal boost. On the other hand, we’re only human. It hurts when work that we, as a collective, have been jackhammering about for seven-plus years gets credited to someone else. (Seven years, y’all! Back to the dawn of skinny jeans! Before Facebook was open to the public, for cripes’ sake.)
And as our friends at Bitch pointed out, it is also distressing, though not in the least surprising, that the words “hipster racism” are more palatable, resonant, and listenable when they come from the mouth of a white blogger. It’s enough to make you get real low and start thinking terrible emo thoughts, like one white blogger is worth more than ten bloggers of colour.
And so! To keep the emo monster at bay and, as an ancient person who remembers all the way back to a long lost time when Racialicious was known as Mixed Media Watch, I decided to quietly slip out of retirement for a moment to revisit just a few of our landmark posts about hipster racism, so as to remind ourselves (and yes, to remind the internet) of all the brotherpucking hard work we have done, lo these many years.
by Former Special Correspondent Wendi Muse
I’ve been following Diplo for some time, observing his work with appreciation, other times disappointment, and sometimes both at once. Back in the early days, when he was throwing warehouse parties in Philly, and later profiling DJs from around the world on his Mad Decent podcast (now a full-on record label and official site), Wesley Pentz was brazenly admitting to pirate-everything, right down to the clandestinely operated podcast itself. There was something refreshing and almost alluring about the nature of backpacking around the world with a passport and a tape recorder. Often considered a modern-day, musical Columbus, though his reputation for “discovering” new musical worlds would be one that would soon bite him where the sun doesn’t shine, Diplo made a name for himself by appropriating a variety of music and presenting it all with chameleon-like efficiency.
Some of you may know him for his production work on MIA’s first, albeit bootleg, album Piracy Funds Terrorism, a mashed up, remixed set of tracks which would later find themselves cleaned-up and repackaged on the official studio album Arular, or later for the Clash and Wreckx-n-Effect sampling “Paper Planes.”
However, he ultimate climax in Diplo’s fame has been in recent years, arguably months, with his promotion for Blackberry…
…and his collaborative work with UK producer Switch (producer for M.I.A. and Santigold) for the dancehall outfit Major Lazer.
But this month, Diplo’s spike in popularity came from a place slightly removed from his music by way of scathing criticism by a DJ named Iceberg Venus X. You see, much like other forms of appropriation (see: imperialism, colonialism, and popular use of cultural artifacts), a backlash always follows. Read the Post It’s Complicated: DJs, Appropriation, and a Whole Host of Other Ish
by Guest Contributor Adrienne K., originally published at Native Appropriations
Let’s set the scene: Friday afternoon, Stanford powwow–one of the largest powwow’s on the West Coast. Three Native powwow committee members and a friend are checking in on the vendor booths, making sure things are ready to go, and they come across the group pictured above. 6 non-Native girls, decked out in warpaint, feathers, fringe, and moccassins–playing Indian at its worst. I’ll let my friend Leon tell the whole story:
While we were walking around Powwow on Friday, checkin out the vendors, we saw this pack of little white girls come running in from the street. Now, needless to say, we were shocked at the sight. We pretty much all just stopped in our tracks, and were speechless for a minute, as we looked on in sheer disbelief. After going through a few (angry) options in our heads about what to do, we figured we should have a little fun with it first (especially since there was this crew of little like six year old Native girls who were already making fun of them)…anyways, me and Lisa devised a plan to get this picture of them for you and your blog. So Lisa approached the girls and said “Excuse me girls…” (silence fell upon the land)…”could we get a picture of you for our newsletter?” “Of course!!!” the girls replied with excitement…
So girls, here’s your “newsletter” debut.
After Leon and crew took the picture, the powwow security team talked to them and brought them over to the director of the Stanford Native Center for some education on the issue, so (hopefully) they at least walked away from the experience with a new understanding of their actions. If they didn’t, here, again, is my anti-headdress manifesto.
I was telling my mom about the incident, and she said, “Honey, you can’t be too hard on them. Clearly they just didn’t know any better.” The thing is, they should have known better.
These girls are students at Palo Alto High School. Definitely one of the best high schools in the area, if not the state. It is a high school that turns out tops students who go on to top colleges, and enrolls children of professors, stanford employees, and other well educated silicon valley execs. To top it off, the school is literally across the street from Stanford. Across the street from a school that hosts the largest student run powwow in the nation for 39 years running, that is home to nearly 300 Native students, that has one of the strongest college Native communities in California.
I would like to think that the combination of those factors would equate some level of understanding, that a high school of their caliber would incorporate some type of curriculum on Native history, or at least a basic level of cultural sensitivity. Clearly, that doesn’t seem to be the case. Read the Post When Non Native Participation in Powwows Goes Terribly Wrong