Welcome to Night Vale: The September Monologues
Wait so is Carlos a secret operative or not
Warning: eye strain (bright colors), eye contact/scopophobia, family conflict, wtnv spoilers
I’d rather you not reblog my art than remove the warning, thank you.
drew a random carlos??
i couldnt decide which effect i liked best so here goes a science squad ye
hes showing off the heart smoke to cecil carlos u hecking dork
oop I’m behind but it’d have to be handled SO carefully since just coming out and being like ‘my sister is trans’ on public radio is really gross (for outing her like that) unless she’s like a Big Outspoken Advocate or sth..
oh yeah, that’s a great point — i’m personally seeing a lot of potential in the idea of someone still insisting cecil has a brother and him just being. no. i have a sister. i’ve always had a sister (because she’s always been his sister he just didn’t realize it when he was younger)
i dunno tho. it’s a cool thought but i’m not sure how well-versed on trans issues joseph and jeffery are…they did well with megan and all but.
HI IT WAS COOL HANGING WITH YOU
HEY IT WAS GREAT HANGING WITH YOU AND GIDEON TOO i can’t believe you were right behind me omg….
I want the sister to be trans, but I would also like for them to explicitly mention that she’s trans, but idk if that’ll happen
we can cross our fingers!! i know they said they would see about having a trans character during their panel at comicon but who knows.
speaking of the new night vale episode….
one of the things i thought was really cool is how they used steve to highlight the fact that as much as we love cecil, he has SO many flaws. cecil is kind of a jerk! and i think a lot of people forget that when you hear everything through cecil or carlos’s filter.
also, michelle was great. she was so good.
(also — now that we know cecil DOES have a sister, i love seeing all these theories as to what happened to is brother, but i think there’s an easier solution? his sister could just be trans.)
good morning, everyone! i’m back from sac. technically i was back last night, but the trip was pretty exhausting so all i wanted to do was listen to the new night vale and SLEEP.
but sac was lovely! we had some cool AA neighbors (i was actually near crev AND karen AND zelly for once??), and i got to see and trade with a lot of cool pals in AA as well; i was a fuckin space case, though, and forgot to grab people’s business cards, so if we chatted at sac and i TOTALLY forgot what your URL was you are MORE than welcome to hit me up. holy shit. (I GOT TO SEE GINGER AGAIN?? I GOT TO SEE GINGER AGAIN THAT WAS UNEXPECTED BUT RAD)
it was fun being cecil, as usual, and also a blast getting to give out my stickers (and i didn’t RUN OUT THIS TIME….). i hope everyone else had a great time & i hope people enjoyed the art they got from me!!
I tried my best to stay true to your design but still incorporate it into my style ;u; I got Kevin’s nose wrong jesus
I was gonna draw the one with goth furry Cecil but my brain shuts off whenever I have to do full body so nah.
EDIT: added blood on Kevin
if you ever draw my furry trash cecil i think i would actually die a little.
dAMN THO THIS IS LOVELY. HOLY SHIT. i really hope you’ll enjoy my half as much as i enjoy this!!
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.