Downlo

laughingsquid:

reddit co-founder Alexis Ohanian & reddit General Manager Erik Martin

Fun fact: these two douchebags knowingly allowed scumbag violentacrez/Michael Brutsch to create subreddits like r/jailbait, r/n*ggerjailbait, r/rapingwomen, r/beatingwomen, etc. and fill them with child pornography and horrifyingly violent, racist, and misogynistic material. Brutsch brought Reddit a ton of traffic in its early days. Reddit eventually got bigger, but all the pedophiles and assorted other scumbags remained on the site. It was only after intense public pressure and a media campaign that Reddit agreed to take down r/jailbait and other child porn subreddits. Brutsch was also involved in moderating r/creepshots, which was also the subject of much controversy a few months ago.

Look at these smiling motherfuckers. Erik Martin and Alexis Ohanian got their start with the degradation and exploitation of children and women (and these things still exist on Reddit—the administrators refuse to remove anything unless forced). Yet media outlets continue to write laudatory pieces about them and their terrible website. Fuck the whole lot of them.

think-progress:

WHOOPS: Investigation looks for Muslim bias in Texas schools and finds Christian bias instead.

What a colossal waste of time and money. Good job, Islamphobic bigots.

ukblackhistory:

George Augustus Polgreen Bridgetower 
October 1778 - February 1860

“his talent is one of the best replies one can give to philosophers who wish to deprive people of his nation and his colour of the opportunity to distinguish themselves in the arts”.

Taken from the journal Le Mercure de France; Paris 1789.

Well this is interesting. It makes you wonder what might’ve been:

…[Bridgetower] visited Vienna later in 1803, where he performed with Ludwig van Beethoven. Beethoven was impressed, and dedicated his great Violin Sonata No. 9 in A major (Op.47) to Bridgetower, with the goodheartedly mocking dedication [downlo: yeah right] Sonata per un mulattico lunatico. Barely finished, the piece received its first public performance at the Augarten Theatre on 24 May 1803, with Beethoven on pianoforte and Bridgetower on violin. Bridgetower had to read the violin part of the second movement from Beethoven’s copy, over his shoulder. He made a slight amendment to his part, which Beethoven gratefully accepted, jumping up to say “Noch einmal, mein lieber Bursch!” (“Once more, my dear fellow!”). Beethoven also presented Bridgetower with his tuning fork, now held by the British Library. The pair fell out soon afterwards, Bridgetower having insulted a woman who turned out to be Beethoven’s friend; Beethoven broke off all relations with Bridgetower and changed the dedication of the new violin sonata to the violin virtuoso Rudolphe Kreutzer, who never played it, saying that it had already been performed once and was too difficult — the piece is now known as the Kreutzer Sonata. The Pulitzer-prize winning poet Rita Dove dramatized the relationship between Beethoven and Bridgetower in the book-length lyric narrative Sonata Mulattica.

The New York Times has a very interesting piece about Dove’s book:

Haydn almost certainly encountered him as a child in a Hungarian castle, where the boy’s father was a servant and Haydn was the director of music, and Thomas Jefferson saw him performing in Paris in 1789: a 9-year-old biracial violin prodigy with a cascade of dark curls. While the boy would go on to inspire Beethoven and help shape the development of classical music, he ended up relegated to a footnote in Beethoven’s life.

Rita Dove, the Pulitzer Prize-winning former United States poet laureate, has now breathed life into the story of that virtuoso, George Augustus Polgreen Bridgetower, in her new book, “Sonata Mulattica” (W. W. Norton). The narrative, a collection of poems subtitled “A Life in Five Movements and a Short Play,” intertwines fact and fiction to flesh out Bridgetower, the son of a Polish-German mother and an Afro-Caribbean father.

[…]

Bridgetower’s story is a corrective to the notion that certain cultural forms are somehow the province of particular groups, said Mike Phillips, a historian, novelist and former museum curator who contributed a series of essays to part of the British Library’s Web site (at www.bl.uk/onlinegallery/features/blackeuro) that profiles five 19th-century figures of mixed European and African heritage, including Bridgetower, Alexandre Dumas and Pushkin. He also wrote the libretto for “Bridgetower: A Fable of London in 1807,” an opera in jazz and classical musica performed by the English Touring Opera, which had its premiere in 2007 in London.

“Bridgetower flourished in a time when the world outside Africa was like a huge concentration camp for black people,” Dr. Phillips said…He noted that while Bridgetower got a music degree at Cambridge and managed to earn a living as a musician, for much of his life the trans-Atlantic slave trade was at full throttle.

While little of his work survives today, Bridgetower associated with some of the major musicians of his time, including Giovanni Viotti, the violin virtuoso, and Samuel Wesley, the organist and composer…

Moreover…Bridgetower was crucial to the establishment of the Royal Academy of Music. This institution was the central influence on, and regulator of, Britain’s musical history at a time when the forms and structures of modern classical music were being invented, along with new instruments that produce the sounds heard in contemporary concert halls.