youottercomeagain:

sblaze:

shaqballoon:

yoshicametoofast:

I hate that feeling when you’re not necessarily sad, but you just feel really empty and every little thing gets to you and everyone that talks to you makes you angry and you want to punch everyone in the face

right now.

Yep.

Often

My favorite dancers ever. These dudes are just insane. 

Jon Jones versus Alexander GustafssonUFC 165

(Source: angryblackman)

comeoutwet:

guyfitblr:

tastefullyoffensive:

Bears Doing Human Things [via]

Previously: Before and After Pictures of Animals Growing Up

I may have just found my favorite post.

Even when they’re supposed to look cute sun bears are creepy as hell

cashmerethoughtsss:

Kanye for Complex magazine (2011)
Below is an excerpt from Pete Rock:

“I know one of Kanye’s bodyguards, and he told me that Kanye was looking for me. I just grabbed this bag of discs—these discs hold at least 50 beats apiece—and went to Hawaii. [Laughs.] That was my first time ever going to Hawaii, so I was blown back by the weather and the beach. It’s a beautiful environment to make music in. I immediately said to myself, ‘This is why he’s here!’ No one bothers you and you’re free as a bird; an important part of being creative is being able to be free in a good environment where you can make music and there’s no interruptions or disturbance or anything. When I got there, Kanye was in the chair in the studio getting his hair cut. He played the ‘Power’ song from before he even put the lyrics on it and he was spittin’ the lyrics to me. I’m real critical of emcees, but when I hear Kanye spit, it opens me up like a flower, man. I used to hear him spit my name in his own records before he even got with me, and I used to say to myself, ‘Damn, he says my name in more than two or three records! Maybe he’s trying to let me know he wants to work with me.’ The studio kind of reminded me of back in the days when I used to work on three or four projects at once, doing it all in the studio. That’s what he was doing—running back and forth from room to room to room to room. He had Kid Cudi upstairs, he was working on his album downstairs, then doing a mix on another record, and it straight reminded me of what I used to do back in the ’90s. He played ‘Runaway’—and as soon as I heard the drums come in, I just started laughing. He used my drums from Mecca and the Soul Brother! I used these drums in an interlude before this record called ‘The Basement,’ and those drums come on before the song. I never heard anybody make a song the way he made it out of those drums. I thought that was genius.” 

cashmerethoughtsss:

Kanye for Complex magazine (2011)

Below is an excerpt from Pete Rock:

“I know one of Kanye’s bodyguards, and he told me that Kanye was looking for me. I just grabbed this bag of discs—these discs hold at least 50 beats apiece—and went to Hawaii. [Laughs.] That was my first time ever going to Hawaii, so I was blown back by the weather and the beach. It’s a beautiful environment to make music in. I immediately said to myself, ‘This is why he’s here!’ No one bothers you and you’re free as a bird; an important part of being creative is being able to be free in a good environment where you can make music and there’s no interruptions or disturbance or anything. When I got there, Kanye was in the chair in the studio getting his hair cut. He played the ‘Power’ song from before he even put the lyrics on it and he was spittin’ the lyrics to me. I’m real critical of emcees, but when I hear Kanye spit, it opens me up like a flower, man. I used to hear him spit my name in his own records before he even got with me, and I used to say to myself, ‘Damn, he says my name in more than two or three records! Maybe he’s trying to let me know he wants to work with me.’ The studio kind of reminded me of back in the days when I used to work on three or four projects at once, doing it all in the studio. That’s what he was doing—running back and forth from room to room to room to room. He had Kid Cudi upstairs, he was working on his album downstairs, then doing a mix on another record, and it straight reminded me of what I used to do back in the ’90s. He played ‘Runaway’—and as soon as I heard the drums come in, I just started laughing. He used my drums from Mecca and the Soul Brother! I used these drums in an interlude before this record called ‘The Basement,’ and those drums come on before the song. I never heard anybody make a song the way he made it out of those drums. I thought that was genius.” 

The legacy of anti-Black racism is that Black struggle gets deemed the property of all other social justice struggles. The symbols and tactics of Black struggle are deemed the common property of all. Black people are required to show solidarity with other people of color, without other people of color owing solidarity to Black communities. Black oppression is always analogized to other forms of oppression in a manner that disappears Black oppression itself. It is presumed we already know everything about Black oppression, so we can just use it as an empty signifier to explain other oppressions.

youottercomeagain:

rihannainfinity:

This is what happens when you come for Rihanna 

DRAG HA!

fuckyeahawesomehouses:

The only thing that would make these secret room bookcases cooler is if you activate them by pulling out a special, secret book :)