First, a quick follow-up: I’ve been writing about the delay of stimulus payments to 30 million seniors, disabled people, veterans, railroad pensioners. Last Thursday, the Social Security Administration finally sent information to enable the IRS to send out the direct deposits/checks, but there’s still no information available on when these vulnerable Americans will receive the much needed assistance.
SSI Stimulus Check Update as IRS Stays Silent Over Payments For Social Security Recipients https://t.co/6QSz3XhZN2— Ella Roach (@Booneysgirl) March 30, 2021
Newsweek tried to get some answers, but hit a brick wall: SSI Stimulus Check Update as IRS Stays Silent Over Payments For Social Security Recipients.
Many recipients of Supplemental Security Income (SSI) and other federal benefits are still waiting to receive their stimulus fund. The Internal Revenue Service has yet to announce a payment date, as of Tuesday….
On March 25, the SSA provided the Internal Revenue Service (IRS) with the paperwork needed for stimulus payments to be issued to federal benefit recipients following pressure from the House Ways and Means Committee. The IRS has yet to respond to Newsweek‘s requests for a comment since the SSA sent the required paperwork.
The SSA website also currently states that “the IRS decided to pay EIPs [Economic Impact Payments] first only to people who filed a 2020 or 2019 tax return, and to people who used the IRS’ Non-Filer Tool to receive a previous EIP. Some Social Security beneficiaries may have received a recent EIP if they filed a tax return with the IRS.”
People who were too poor to file a tax return have been left twisting in the wind. They are advised to use the “check my payment” link at the IRS, but when they do, they are told there is no information available.
Asked whether it had received any information on a stimulus payment date for federal benefit recipients, a spokesperson for NACHA (National Automated Clearing House Association), which manages the ACH Network, the national automated clearing house for electronic funds transfers, told Newsweek this Monday: “We haven’t gotten anything.”
Newsweek has contacted the IRS, the U.S. Treasury and the U.S. Bureau of the Fiscal Service for comment.
The SSA website currently advises: “Please refer to the IRS’ website for the latest information about economic impact payments (EIP). Please do not contact the Social Security Administration (SSA) with questions about EIPs. Our representatives do not have information to answer your EIP questions. The IRS, not SSA, processes all EIPs.”
A spokesperson for the SSA told Newsweek on March 26: “As you may already know, many Social Security beneficiaries have already received their EIPs. The final files we sent to IRS yesterday morning [Thursday] will address those recipients who don’t normally file a tax return with the IRS.”
Now for my main topic: Cultural Appropriation
Wikipedia: Cultural appropriation is the adoption of an element or elements of one culture or identity by members of another culture or identity. This can be controversial when members of a dominant culture appropriate from disadvantaged minority cultures.
I seldom watch late night entertainment programs, but yesterday there was a strong reaction to a Tonight Show segment. A white TikTok “influencer,” Addison Rae, appeared on the Jimmy Kimmel show to perform several dance routines. The problem is that she copied them from Black women on TicToc and failed to credit them or the Black artists who performed the songs she danced to.
Many of the viral dance challenges Rae demonstrated were started by Black creators, but you wouldn’t know that by watching Friday’s episode.— LAT Entertainment (@latimesent) March 29, 2021
There's more: https://t.co/nvyQvqShIh
From the LA Times story: Addison Rae taught Jimmy Fallon TikTok dances, but Twitter remembers who created them.
Many of TikTok’s viral dance challenges were started by Black creators, but you wouldn’t know that by watching Friday’s episode of “The Tonight Show,” which saw one of the app’s biggest stars, Addison Rae, perform several dances without crediting their choreographers.
What was intended as a fun moment between Rae and host Jimmy Fallon — who are both white — backfired over the weekend as Twitter users demanded recognition for the people whose choreography was featured on the show.
“Stealing from black entertainers and having white ‘creators’ regurgitate it to the masses is american history 101,” one person tweeted after Fallon shared a clip of Rae busting a move to eight different songs.
“I think Black creators should just stop creating content for like a good 6 months and just observe what these people come up with,” wrote another in a tweet that had amassed more than 261,000 likes….
Included in the TikTok dance compilation were:
- “Do It Again” (recorded by Pia Mia, choreographed by @noahschnapp)
- “Savage Love” (recorded and choreographed by @jasonderulo)
- “Corvette Corvette” (recorded by Popp Hunna, choreographed by @yvnggprince)
- “Laffy Taffy” (recorded by D4L, choreographed by @flyboyfu)
- “Savage” (recorded by Megan Thee Stallion, choreographed by @keke.janjah)
- “Blinding Lights” (recorded by the Weeknd, choreographed by @macdaddyz)
- “Up” (recorded by Cardi B, choreographed by @theemyanicole)
- “Fergalicious” (recorded by Fergie and will.i.am, choreographed by @thegilberttwins).
(The choreographers’ names have been shared by Twitter users and confirmed by Buzzfeed.)
Here’s a side-by-side comparison of Rae’s performance to Cardi B’s “Up” along with the original performance by TheMayaNicole. See what you think.
If you want to see a TikTok dance skit, why not ask the original artists to participate? That’s a question The Tonight Show Starring Jimmy Fallon and Addison Rae face after March 26th’s episode. The well-known creator walked Fallon through a few of the app’s most popular choreography in a sketch, similar to a video released with Charli D’Amelio last year. Quickly after airing, the clip faced criticism as viewers wondered why the creatives who actually created the dances didn’t get screen time — or at the very least, proper credit.
This controversy is not new for Rae, who faced similar pushback after she and D’Amelio became the face of a “Renegade” dance routine, which was originally created by Jalaiah Harmon. Intentional or not, Rae and D’Amelio’s names were synonymous with choreography they had no hand in. They went as far as to perform the dance at a 2020 NBA All Star game without Harmon. Harmon eventually got her dues, but only after publicly reclaiming the viral dance. Rae and D’Amelo need only whisper and their combined 100+ million followers would come running, so why did Harmon practically need a megaphone to get her credit? Her experience is a disappointing reflection of how art is co-opted on social media, especially from Black creatives.
You can’t separate Rae’s success from the work of Black TikTokers. Some of her most viewed videos are built on their choreography, like the “Savage” routine originated by Keara Wilson. (Wilson told POPSUGAR she doesn’t wish any backlash against Rae because she knows “how toxic the internet can be.” She said, “Yes of course it’s always nice to be credited but just having my dance on the show is an honor in itself.”)
As Twitter user @blackamazon wrote, “This is why I bang on EVERYBODY about the economics and race of social media. ‘Tik tok dances’ the names of the artists not there. The actual choreographers not there. She’s on national television but where are the Black kids who actually made these.” Another user, @868nathan, wrote, “The fact that Addison Rae is championed for ‘Tik Tok Dances’ whilst the black creatives that made them never get the same platform will never sit right with me.”
This reminds me of the days when white recording artists like Pat Boone released pathetic cover versions of songs by Black musicians like Little Richard. The good news in those days was that people who heard the covers sought out the originals and eventually the Black artists became well known and successful. The same thing happened again in the 1960s with British and American bands who covered performances by Black blues musicians.
Futurity (Feb. 3, 2017): How the 1950s Made Pat Boone a Rock Star.
While some early rock ‘n’ roll acts receive little critical respect, historically speaking, these same musicians and singers played an important role in bridging musical styles and bringing cultures together, writes Aquila, professor emeritus of history and American studies at Penn State, in his book, Let’s Rock! How 1950s America Created Elvis and the Rock & Roll Craze (Rowman & Littlefield, 2017).
“I spend a lot of time discussing Pat Boone and other pop rockers in the book. Boone refers to himself not as the father of rock ‘n’ roll, but as the midwife of rock ‘n’ roll,” says Aquila.
“What he means by this is that his versions of Little Richard’s songs may not be as good as Little Richard’s originals, but Little Richard couldn’t get played on mainstream radio stations back in the ’50s, due to racism and other reasons. But, after the kids listened to Boone’s music, they tended to go on and want the real thing.”
Boone spent most of his early career covering rhythm-and-blues songs, like Richard’s “Tutti Frutti.” Boone’s versions, however, were influenced by pop styles and standards that were tamer and more familiar to white audiences of the time. He also sanitized Fats Domino’s “Ain’t That a Shame,” for his white audience’s ears and, apparently, their grammar. He tried, for instance, to change the title of the song to “Isn’t That a Shame.”
While many music critics now consider this artistic theft or cultural appropriation, Aquila says that some black artists at the time appreciated Boone’s cover songs.
At a concert, for example, Aquila writes that Domino introduced Boone to the audience and, pointing to one of his diamond rings, added that Boone’s version of “Ain’t That a Shame” bought him that ring.
It’s still pathetic that our white-dominated culture made this happen and even more pathetic that it is still happening on social media platforms like TikTok and mainstream TV programs.
Some politics news, links only
Josh Rogin at The Washington Post: Opinion: The WHO covid report is fatally flawed, and a real investigation has yet to take place.
Michael Gerson at The Washington Post: Opinion: The GOP is facing a sickness deeper than the coronavirus.
That’s it for me today. What’s on your mind?