as we grow up. we are growing through ourselves. into ourselves. the heartbreak we experience when those we’ve grown up/grown through with can not/will not travel with us, is organic. there is organic heartbreak. there is natural pain. this is a natural pain. having to say goodbye. or leave. because you are a different person to someone who has known you through all of your growing. is a tremendous altering. let it be so. you must be who you are. having someone say goodbye. or leave. because they are a different person than the one you’ve known through all their growing. is a tremendous altering. let it be so. they must be who they are. this is the wise and wide heartbreak of growth.
— nayyirah waheed (via nayyirahwaheed)

Seven Surprising Facts About Asian-American and Middle Eastern Boys


-Racial profiling is a routine part of life for Southeast Asian and Pacific Islander boys. In 2006 in Oakland, Calif., those of Samoan descent had the highest arrest rate of any racial or ethnic group, coming out to 140 arrests for every 1,000 Samoans in Oakland.  

-Asian-American, Pacific Islander and AMEMSA youth are the most frequent targets of school bullying. More than half of Asian-American teens are bullied in school. At 54 percent, the rate far exceeds the rates reported by white teens (31 percent), Latino teens (34 percent) and black teens (38 pecent). And yet, youth rarely report the incidents of harassment, fearing retaliation or because they lack the linguistic capability to voice their needs.

-The rates of bullying are higher for turbaned boys. For South Asian boys who wear turbans, nearly three-quarters, or 74 percent, report facing some religious or racial bullying. It’s common for turbaned youth to be called terrorists.

-Asian-American LGBTQ youth in particular deal with homophobia, transphobia and racism in school. Nearly one-third of Asian-American LGBTQ youth reported dealing with harassment based on their race. And in a California report of LGBTQ youth, Asian-American youth reported the highest incidence of bullying of any group of students of color.

-More than 40 percent of Hmong youth live in poverty. Rates for other Southeast Asian youth are similarly high. Thirty-one percent of Cambodian youth live in poverty, compared to 27 percent of black youth and 26 percent of Latino youth. Almost half of Bangladeshis too (44 percent) are considered low-income, along with 31 percent of Pakistanis.

-Many Asian-Americans are undereducated. Among the broader U.S. population, 19 percent of people in the U.S. lack a high school degree or GED, but more than 40 percent of Cambodians, Laotians and Hmongs, do not have a high school degree. 

-One in four Koreans in the U.S. is undocumented. And one in six Filipinos is undocumented. And between 2000 and 2009 the undocumented Asian Indian population grew 40 percent. The nation’s immigrant community is broad and multifaceted; these statistics attest to that.


(via owning-my-truth)





rebloggable, as requested :) 

this is the most accurate description of how awful periods are that i have ever read.  *slow applauds*

having watched girlfriends in period pain, men

take note; this is actually how terrible it is for some ladies


(via damekap)


And even a bonus slide for any remaining queries:

Mod note: 

Feel free to erase this bit here if you reblog, but I just wanted to explain why I made this. Very recently I got into an argument online with a white woman about a film that executed a white savior trope. I explained all the things I found problematic in the film and why I thought it was racist, and she told me that I was both nit-picking and white-shaming. I was also called a hypocrite and a racist (against white people).

I could see that this white woman was set in her willful ignorance, and that any further arguing would only make me more frustrated and her more self-righteous. So instead, I made this (lovely, if I can so myself) powerpoint rather than metaphorically bashing my head against a brick wall in continuing a conversation with her. 

May this help you in all your efforts, even if it couldn’t help me in mine. 

- Jennifer 

P.S. So I don’t know if someone has made a powerpoint for racism before (I’m sure someone has), but I haven’t seen one. Please link it to us if you have! 


(via han-nara)

IU, Eunhyuk, and the Imaginary Korean Netizen Backlash

So this article is about the IU/Eunhyuk “scandal” in South Korea. But the writer emphasizes a very, very important point when critiquing the racist and sexist things that happen in South Korea. This is not to defend the racism and sexism that exists in SK but rather to be critical of the way people (especially in North America and EU) critique these things, try to understand why they are happening, and figure out how to have conversations about these issues:

"In theory, international fans have no way of knowing the answer to this question because most of them have never set foot in Korea before, and their image of Korea is one that is built by the videos they watch and the blog posts they read on the internet and maybe the occasional skimmed Wikipedia article on Confucianism. But even with a limited knowledge of Korea that is composed largely of second-hand information, international audiences seem to have a peculiarly rigid picture of what Korea is really like. Judging from the comments I’ve seen among international fandom over the years, many international fans regard Korea to be a sexist, racist, homophobic, overly conservative, politically corrupt, fundamentally Christian country that is stubbornly attached to traditional Confucian values and is unwilling to be “progressive” like the rest of the [Western] world.

There may be some truth to these assumptions, but the real risk in labeling the whole Korea as a sexist, racist, what-have-you country is failing to recognize the historical and political significance of why this might be. There is a huge difference behind the culturalist perspective: attributing the behaviors of an entire society to their “culture,” and the deterministic perspective: recognizing that there are specific, historical conditions why certain sexist and racist behaviors continue to persist in Korean society today. Acknowledging the historically grounded roots of problematic behaviors does not excuse them; perhaps it can be even more productive than simply writing off these problematic issues as “cultural.” In fact, taking a culturalist perspective towards another society or country is highly problematic in itself, especially when those from Western societies do so. To be honest, the idea of a Westerner claiming that “Korea is a racist country” with a “backward culture” (arguments I’ve repeatedly seen come up verbatim within international fandom) reeks a bit too heavily of imperialism for my own personal comfort.”

Read more at Omona They Didnt: http://omonatheydidnt.livejournal.com/10135267.html#ixzz2VNE24VkV


La Cosecha

“La Cosecha” tells the story of the children who feed the United States.

Every year there are more than 400,000 American children who are torn away from their friends, schools and homes to pick the food we all eat. Zulema, Perla and Victor labor as migrant farm workers, sacrificing their own childhoods to help their families survive.

“La Cosecha” profiles these three as they journey from the scorching heat of Texas’ onion fields to the winter snows of the Michigan apple orchards and back south to the humidity of Florida’s tomato fields to follow the harvest.

Film website: The Harvest Film.

For more information and resources, visit: Student Action With Farmworkers’ web page on National Farmworker Awareness Week.

(via immigrantstories)


Because everyone needs more baby bunnies in their lives.

Also, I spent time on the captions, you should look at them.


(Source: rubyholler, via immaterialwhite)



Photos that speak: Fuck your fountain. Fuck your tree. Fuck voter suppression. Fuck your labels. Fuck your stereotypes. Fuck your hatred. Fuck your restaurants. Fuck that dude. Fuck police brutality. Fuck white supremacy. 

“I scare white people”

(via mermaidheartsongs)




In reference to this new story: Black 14-year-old Carrying a Puppy Tackled and Choked by Police for Giving Them a “Dehumanizing Stare”

I fucking hate this country so goddamn much

this was my first thought with the whole puppy narrative too. Really being pushed to give a black child the humanity that he always should have had in the first place. 




In reference to this new story: Black 14-year-old Carrying a Puppy Tackled and Choked by Police for Giving Them a “Dehumanizing Stare”

I fucking hate this country so goddamn much

this was my first thought with the whole puppy narrative too. Really being pushed to give a black child the humanity that he always should have had in the first place. 

(via owning-my-truth)

Students of color are allowed to enter the classroom but never on an equal footing. When they walk in, they are subject to the same racial stereotypes and expectations that exist in the larger society. Students of color do not have the advantage of walking into a classroom as individuals; they walk in as black, brown, or red persons with all the connotations such racialization raises in the classroom. They do not walk into a classroom where the curriculum embraces their histories. They walk into a classroom where their histories and cultures are distorted, where they feel confused about their own identities, vulnerabilities, and oppressions. There is no level of liberal reforms that can alter these experiences for students of color without directly challenging the larger systems in society.
Critical Race Theory Matters: Education and Ideology | Margaret Zamudio, Caskey Russell, Francisco Rios & Jacquelyn Bridgeman (via sinidentidades)

(via fascinasians)

Evolution Of A Queen: The Racist Origins of Modern Clown Makeup (or, just one more reason to hate clowns)







This post was asking about a potential link between the afro-style wigs and big, painted lips of the modern clown and racist caricatures, so I decided to do what any good theatre history student would do - I did some research.


From Janet M. Davis, The Circus Age: Culture & Society Under the American Big Top:

Some circus programs contained portraits of clowns in literal blackface, with huge red mouths and bulging eyes, strumming energetically on a banjo, but often the auguste clown’s blackface was metaphorical. He created his racial identity through the act of ‘‘whitening up’’ with thick pancake.

His greasy whiteness and exaggerated bodily zones—huge red mouth, lolling, paint-encircled eyes, big fake nose, ears, and feet—made his look strikingly similar to blackface. Showmen played upon this visual connection by arguing that African American men literally were clowns because of their supposed affinity for clowning and the circus. The Ringling Bros.’ route book from 1895 and 1896 contained a section, ‘‘The Plantation Darkey at the Circus,’’ which imagined—in almost orgasmic language—black men as minstrel characters.


Proprietors further conflated the African American man and the clown by arguing that both were completely controlled by their emotions, not reason.

Superlative examples of white manhood—the big cat tamer, the wire walker, and so forth—demonstrated little emotion during life-threatening acts. The clown, by contrast, howled in mock fear when he saw a mouse, or shrieked in pain at a mosquito bite. Showmen characterized male African American spectators in a similar vein as giddy and superstitious. 


Actual big-top acts made this rhetorical relationship between the clown and the African American complete. In 1888 Eph Thompson trained the elephant John L. Sullivan at the Adam Forepaugh circus. Wearing a boxing glove at the end of his trunk, the elephant sparred with Thompson in the ring and frequently ‘‘punched’’ him so hard that Thompson went flying over the ring bank.

Unlike the white trainer who dominated powerful animals, Thompson played a clownish coward—constantly vanquished by the boxing pachyderm—and consequently remained unthreatening to Euroamerican audiences. Yet Thompson still had a difficult time finding employment with American shows. As a result, he moved to Europe where his career flourished.

In line with the tenets of nineteenth-century romantic racialism, show-men’s portrayals of black men and clowns reflected contemporary representations of white women: late-nineteenth-century scientists argued that ‘‘excessive’’ emotionalism defined women, racial ‘‘savages,’’ and children of all races. The German Darwinist Ernst Haeckel and the Americans Edward Drinker Cope and G. Stanley Hall were all proponents of recapitulation theory, positing that every organism repeats the life history of its ‘‘race’’ within its own lifetime, evolving through the less developed forms of its ancestors on its path to maturity. They contended that Euroamerican women and ‘‘primitives’’ remained mentally and emotionally fixed in lower ancestral stages of evolution. Accordingly, only white boys were physiologically and mentally capable of reaching the highest stages of racial and gender development as fully evolved men. This line of thought used pseudoempirical phrenological evidence to claim that African American men were perpetually emotional and juvenile, just like the clown.

The painted clown acted out childish behaviors and infantile pleasures. He reveled in dirt, cried freely, openly adored the serious ‘‘adult’’ acts, and played physical pranks on everybody, from ringmaster to the audience. If playing a hobo (popularized most fully by Emmett Kelly’s ‘‘Willie’’ tramp character during the Depression, when at times nearly one-quarter of the American workforce was unemployed), the auguste clown’s persona was defined by dirt. Laughing loudly at the clown’s antics perhaps transported audiences back to the unrestrained pleasures of their own collective infancy and childhood.

More than a ‘‘low Other’’ who simply represented a tantalizing version of what they were not, the unfettered clown symbolized what clock-bound, alienated adult Euroamerican men perhaps felt they had lost.

Even the red noses have their origins in racist stereotypes.

From Mikita Brottman, Funny Peculiar: Gershon Legman and the Psychopathology of Humor:

While the Native American plains tribes had their own various manifestations of the Trickster figure, the main clown type of non-Native Americans was not the August, as it was in Europe, but the character clown… After the [Civil War] ended, however, one particular style of character clown came into prominence: the Hobo.

Eric Lott describes how the Hobo figure was originally based on the blackface minstrel clowns (hence the exaggerated white mouths) who portrayed the figures of African Americans made homeless by the ravages of the Civil War.

Lott explains that the Hobo character clown is a distinctly American invention, with his tattered hat, huge white mouth, three days’ growth of beard, torn clothes, and cartoon alcoholic’s big red nose. […] It seems ironic that such mawkishly appealing personalities had their roots in the miseries of poverty and oppression and the disfigurements of alcoholism and venereal disease. 



Holy sht. I knew something was up when I compared the two photos! Something didn’t seem right… and i was right! 

I never would have even thought to make that connection before I saw that post so thank you for giving me something to look into - I truly learn more from this website than I ever will in any class

huh. you really do learn something new every day.

Racism abound…

minstrelsy was the first form of American national popular/mass culture - it’s the foundation for everything that came after it, including vaudeville, the circus, cartoons, everything. Eric Lott’s Love and Theft lays this out really well.

yuuuup. never liked clowns, never will. 

(via stopwhitewashing)