David Meir Grossman

kfan: caseymalone: Hey everyone, If you’re here, it’s probably...

Wed, 19 Jun 2013 23:00:34 -0400

caseymalone:

Hey everyone,

If you’re here, it’s probably because of this post I wrote about the Kickstarter “Above The Game.” “Above The Game” was successfully funded this morning, raising 800% of its target goal. Unfortunately, the product it’s funding, I think, was pretty repugnant.

Basically styled as a book on “how to meet women,” what the content really did was tell men how to exploit some the awful systemic pressures we put on women, to take an overly aggressive role, and never take no for an answer in order to get sex. Some of the excerpts were pretty disgusting, even in their proper context - context the original author removed when I had linked to it - and it forwards a rape culture, no matter what its proponents might tell you. Even the section which the author, Ken Hoinsky, stresses the importance of obtaining consent ends with the phrase, “wait a few minutes and try again.”

So, yeah.

I was upset because this is a really grotesque, upsetting thing being funded on a platform I am bonkers for. So I posted that thing calling for people on the internet to speak to Kickstarter and ask asked for it to be taken down, and holy crap when I woke up and my post was everywhere. Currently at around 7K notes, my second most popular post has 8 Notes, and is a man in a Food Court wearing a Batman t-shirt, seen below:

So all day people have been reaching out to me for comments and questions and telling me to link this thing or that thing and do I have screenshots and telling me I’m overreacting and giving me some degree of either praise or harassment.

One of the groups of that reached out to me was, in fact, Kickstarter.

I e-mailed them earlier in the day, expecting fully for that e-mail to hit some poor community manager who had no idea this was what they were waking up to, and for a simple thanks for your input we’ll look into it or to not hear anything back at all. Instead they got back to me. And after a long day of “one second, we’re still discussing this,” they sent me a statement, the relevant bits I’ve pasted here -

This morning, material that a project creator posted on Reddit earlier this year was brought to our and the public’s attention just hours before the project’s deadline. Some of this material is abhorrent and inconsistent with our values as people and as an organization. Based on our current guidelines, however, the material on Reddit did not warrant the irreversible action of canceling the project.

As stewards of Kickstarter we sometimes have to make difficult decisions. We followed the discussion around the web today very closely. It led to a lot of internal discussion and will lead to a further review of our policies.

So, yeah.

This is a huge bummer, it’s a bummer that they allowed this project to be funded, and it’s especially a bummer in light of this statement. Because the statement, “Based on our current guidelines, however, the material on Reddit did not warrant the irreversible action of canceling the project.” is intensely problematic when you look at the guideline I’ve posted above. Because given what the author said, and given that this material was advertised as part of the final product - the author’s Kickstarter was to provide a published and expanded version of the material on Reddit - and they find it “abhorrent and inconsistent with your values as people and as an organization,” how is this not offensive? And then, how does it not violate that guideline?

I suspect that, had the material on Reddit been part of the initial Kickstarter pitch and video, it never would have even been approved. While the material on Reddit ostensibly was what was being Kickstarted, it is admittedly unreasonable to expect for whoever vets these projects to read what amounts to a manuscript for every book that wants a Kickstarter. It’s not feasible for them to approve all content that could POTENTIALLY flow through this channel - to say nothing of books that are unwritten. So we can’t expect Kickstarter to be proactive on everything except from every piece of writing that might appear in something funded through their site.

But we all pointed it out to them, at which point, they chose to allow it to be funded.

Hoinsky - knowingly or unknowingly - found a loophole in Kickstarter’s guidelines. By hosting the truly offensive material outside of his pitch, people were unaware that it existed until it was too late, and it was too complicated an issue for a multi-million dollar business to do anything about. And I am completely disappointed, because while Kickstarter is a huge company concerned about maintaining policies and setting precedent, I am just a dude concerned about someone getting $16k for creating a manual on how to sexually assault women and concerned about, jeeze, I don’t know, the nobility of crowd funding?

So I understand that this was probably not an easy decision for Kickstarter to come to in a short periord of time (I discovered the content 10 hours before the Kickstarter ended, 6 hours of which were sleeping time for reasonable people). And to me, the result we ended up with was not the moral one.

Here are kind of my final thoughts on this -

1. Don’t let anyone fool you, This Book Is A Rape Manual

I heard a lot of people telling me that I was taking some of those quotes out of context or that “JEEZE when he said take your dick out she was already making out with you!” Well, fuck you. Because acquaintence rape is a real thing. Because a girl kissing you or letting you do SOMETHING does not mean you get to do ANYTHING. And by creating a book whose leitmotif (YEAH FUCK YOU PRETENSION I WENT TO FILM SCHOOL FOR A FEW MONTHS) is “be aggressive, and do what you want because women like that,” you are telling people to rape. Not everyone who’s going to read the book is going to be a rapist, but I promise you - someone who read this book will rape someone. And they might not even know they did it, because you told them the woman wanted it that way, you human nightmare. The whole thing is a boiling cauldron of rape culture, and you are not going to convince me otherwise any more than you could convince me the sun has been replaced by a bran muffin.

2. People are way more amazing than awful.

I got tons and tons of e-mails and tweets and Tumblr messages of support and all the reblogs and all of this shit basically saying that women should not be treated this way and people who say otherwise are assholes. And saying good on me for speaking out. And that felt great, to know that the internet - which I find is most often represented by shit like Penny-Arcade and Reddit - is not as bad as I thought. Also, please consider that the VAST MAJORITY of “Thank you for saying this” messages I got were from women the next time you think that maybe this shit isn’t real.

3. This is probably in HUGE PART because I am a man.

All of my photos are pictures of me, and I have a awful (just awful) beard and am clearly not a woman. I think this curbed the abuse I got from the internet EXPONENTIALLY. A few of the awesome women in my life IMMEDIATELY messaged me about blowback this morning, because they had ALREADY RECEIVED HARASSMENT JUST FROM RETWEETING ME, where at that point in the day I had received NONE. They asked me first thing if I was being harassed because that is what the world does to them if they talk about this stuff, and this awful book furthers that attitude. The worst harassment I got - and one nice message, to be fair - was clearly because I have a gender neutral name and they thought I was a woman.

4. I still love Kickstarter, and will keep using it.

They made a really bad call. Straight up, this was a bad call to allow this to be funded. But it’s undeniable that they had not a lot of time to make that call in, and a weird confluences of loopholes in their policies. Big companies move very slowly, and they had to act fast, so you know. They made a bad call. That does not mean it’s a bad platform, or they’re bad people - in fact, they seem pretty upset about the whole thing, and I hope that they re-examine some of the policies that led to that call now that they have more than a few hours to breathe.

I still think crowdfunding in general is the internet’s way of fighting back against the monopolies on entertainment, and Kickstarter specifically is a pretty special tool. My friends have followed dreams because of this, they’ve made games and prank apps and children’s books and burnt giant guitars. It’s awesome. And I find it inevitable that I’ll launch one of my own one day. I hope that more projects like this being funded doesn’t cause that inevitability to fall away.

This project is funded, but make your voice heard by signing this petition someone started over at Do Something - http://www.dosomething.org/petition/kickstarter - Hopefully they’ll know that if projects like this that forward a culture of violence against women or any oppressed group continue to be funded, we’ll stop just stop using it. And as I’ve made clear, I would like to continue using it!

Finally…

5. Fuck Not Saying Something

I am super burnt out on everything in my life being about rape. I’m a video game designer - so I have to deal with people like Penny-Arcade, or the people that harass the outstanding Anita Sarkeesian. I’m a stand-up comic - so I have to deal with the endless hordes of angry white dudes telling me it okay for them to talk about how funny it is for them to be raping a girl on stage, and how if I say otherwise then I am censoring them. And I love the internet - and here we are. I am sick. and tired. of rape.

But I probably have no capacity to even understand how sick and tired women are of it.

I have an amazing friend who I go to whenever I’m totally lost of this stuff and once I said, “I just am so frustrated with talking about this shit, I am going to just NOT THINK ABOUT IT FOR A WHILE.” and he replied, “Okay, but just so you know, being able to not think about it for a while is the definition of privilege.” Oops.

I don’t want to deal with this shit. I have a ton of amazing women in my life - the funniest comedians I know are women, the strongest writers I know are women - and I don’t want them to have to deal with this shit. But I guess the only want for people to not have to deal with it anymore is by dealing with it as loudly as I can and hoping you guys signal boost some more. So that hopefully people like fucking Ken Hoinsky and his nightmare kingdom of sub-Reddits will shut the fuck up.

And then, finally, when no one has to deal with these morons being the dominant voice in the culture, we can all stop talking about rape.

Casey Malone, Solid Dude

barthel: “What was 2013 like dad” “Well child back then YouTube...

Wed, 19 Jun 2013 22:53:31 -0400

barthel:

“What was 2013 like dad” “Well child back then YouTube thought that spotlighting Dubstep Violin videos was a good way to get people to download its app”

brightwalldarkroom: When he was 11 years old, Martin Scorsese...

Wed, 19 Jun 2013 14:27:39 -0400

brightwalldarkroom:

When he was 11 years old, Martin Scorsese drew up these storyboards for The Eternal City, an imagined widescreen epic he dreamed of making. ”A fictitious story of Royalty in Ancient Rome”, the pre-teen Scorsese decided his film would star Marlon Brando, Richard Burton, Virginia Mayo and Alec Guinness.

(illustrations via)

ACLU <3 Rapgenius

Tue, 18 Jun 2013 14:02:28 -0400

adamserwer:

This is so great:

More here.

i’m gonna be real with you guys: i did not see this coming.

This Is What a Non-Apology to Females Looks Like, by VICE and Rick Ross

Tue, 18 Jun 2013 13:21:15 -0400

Rick Ross: "Put molly in her champagne, she ain't even know it / I took her home and I enjoyed that, she ain't even know it."
VICE: “Last Words” is a fashion spread featuring models reenacting the suicides of female authors who tragically ended their own lives.
Ross: I want to make sure this is clear: woman is the most precious gift known to man, ya understand?
VICE: It is part of our 2013 Fiction Issue (http://www.vice.com/magazine/20/6), one that is entirely dedicated to female writers, photographers, illustrators, painters, and other contributors.
Ross: It was a misunderstanding with a lyric, a misinterpretation where the term rape wasn't used.
VICE: The fashion spreads in VICE magazine are always unconventional and approached with an art editorial point-of-view rather than a typical fashion photo-editorial one.
Ross: I would never use the term rape in my records. As far as my camp, hip-hop don't condone that.
VICE: Our main goal is to create artful images, with the fashion message following, rather than leading.
Ross: The streets don't condone that. Nobody condones that.
VICE: “Last Words” was created in this tradition and focused on the demise of a set of writers whose lives we very much wish weren’t cut tragically short, especially at their own hands.
Ross: So I just wanted to reach out to all the queens that are on my timeline and all the sexy ladies, the beautiful ladies that had been reaching out to me with the misunderstanding.
VICE: We will no longer display “Last Words” on our website and apologize to anyone who was hurt or offended.
Ross: We don't condone rape and I'm not with that.

deafmute42: “Drone Over BKLYN” Inspiration for this project...

Tue, 18 Jun 2013 01:34:06 -0400

deafmute42:

“Drone Over BKLYN”

Inspiration for this project came from the song “Drones Over BKLYN” by El-P. We tried to create something that had very human-like characteristics, but would also set someone on edge if they saw it walking towards them.

The beige uniform seemed appropriate. The hands are meant as a victory gesture thinly veiled by a peace sign. Whether the drone is flying over the city or escaping by jumping out is for the viewer to decide.

We created this with tape, warm bodies, and time. It was (is?) displayed at Geneva Community High School in the common space. (Oh what wonderful irony that they display it before the American flag)

yeezygraffiti: I only listen to country Kanye Yeezus

Sat, 15 Jun 2013 19:04:32 -0400

yeezygraffiti:

I only listen to country Kanye Yeezus

buchino: The Disciples by James Mollison, 2008 Over three...

Sat, 15 Jun 2013 14:43:51 -0400

Oasis fans by James Mollison

Madonna fans by James Mollison

Marilyn Manson fans by James Mollison

Missy Elliott fans by James Mollison

50 Cent fans by James Mollison

The Spice Girls fans by James Mollison

The Cure fans by James Mollison

buchino:

The Disciples by James Mollison, 2008

Over three years I photographed fans outside different concerts. I was fascinated by the different tribes of people that attended them, and how people emulated celebrity to form their identity. As I photographed the project I began to see how the concerts became events for people to come together with surrogate ‘families’, a chance to relive their youth or try and be part of a scene that happened before they were born.

Everybody’s got a thing.

Thanks for the tip, Andy.

BODY/HEAD SHOW, ST. VITUS JUNE 13 Foreclosure: Didn’t see....

Fri, 14 Jun 2013 13:11:00 -0400

BODY/HEAD SHOW, ST. VITUS JUNE 13

Foreclosure: Didn’t see. Sorry dudes

Majical Cloudz: First time seeing them live, and it was everything Devon Maloney said it would be: a band whose focus is using “empty space and simplicity”, that calls to mind four white walls just begging to be painted on. Devon Walsh is a intimidating looking dude, you get the feeling that he’s about to ramble at you. He’s wearing a white shirt tucked into blue jeans and has a shaved head. But his songs, at least the ones off Impersonator, are tightly formed odes to joy (sidenote: is this a trend? you can hear very similar styles coming from Phosphorescent and Colin Stetson these days. Although can joy be a trend? Maaaaaaaan). When Walsh just repeats over and over again, “I don’t feel like dying”, it sounds spiritual, it sounds like the room is bathed in warm light (yes, it sounds like that), and it feels like everyone in the back should put on trial for disturbing an artist at work. The banter is a little awkward, the dude doesn’t really know how to joke, or how to deal with a girl yelling “Punish us!” (I’d have no idea how to deal with that either, I guess). But his vocals never falter, he sings to us about hope and his father, and it is beautiful.

The Julie Ruin: Kathleen Hanna’s band! Kathleen Hanna’s band! Kathleen Hanna is in a band and this is the band and here it is playing songs. There’s a documentary out on Hanna’s influence in Bikini Kill that’s making the rounds right now, which makes this kind of like playing for one team while your jersey is being retired on another. The crowd (myself included) was in awe at the chance to dance to Kathleen Hannah, which is what the fact that Kenny Mellman stole the show so surprising. The songs The Julie Ruin played were fine songs that fit into the Riot Grrrl Rrrevival sound, they’d fit in right next to tunes from Wild Flag and The Corin Tucker Band. Catchy, happy-sounding, danceable, a hint of the edge from two decades ago. And then Mellman, who plays keyboards for The Julie Ruin and was nominated for a Tony for his drag performance in “Kiki and Herb”, comes out of nowhere where these gutteral pleas, sounding like a Crank Yanker born in the sewer. He gave songs a pleasant awakening. Everything here was good. If I didn’t have anything pressing, I’d see The Julie Ruin again because they were a nice sounding band with punk undertones. I’ll cancel all plans anytime, any place to see them because they are Kathleen Hanna’s band.

Body/Head: The Julie Ruin were a nice new band for an icon to hand her hat upon. Body/Head was the end of the world. Chaos, tumult, tension, release. None of these ideas are exactly new for anyone who’s listened to Sonic Youth. I joked before Body/Head’s set that the spoken word pieces on Chelsea Light Moving’s eponymous debut really blew my mind in 1985, and while I can’t report that Body/Head brings shockingly new ideas to the fore, what they bring is all-encompassing, all-consuming. Gordon and her collaborator, Bill Nance, get what the best electronic artists get: that noise can transform, that noise can be the narrative.

I felt direct broadsides from Gordon, it was like being hit by a hammer twenty feet wide. She seemed to take on a masculine sexualized voice for a bit, murmuring ”Take it all, take it all, take it all!” before shattering the illusion with, “Take it all away! Take it all away!” It was a reductive moment. She played some blues-y riffs for a second, and at the time I thought it was further challenging a masculine voice, taking a 50’s male sound and incorporating it into a field of noise. And that may have been it, but ultimately reading tea leaves into a set like this one is futile. Body/Head was just that, the physical being guided by the well-thought out (especially Nance’s flailing around the stage). Songs barely ended and barely started, but it was easy to tell that Gordon knew what was happening at all times. It was overwhelming, it was powerful, it wasn’t Sonic Youth. It’s Body/Head, a band worth getting very excited about.

Photo

Wed, 12 Jun 2013 12:44:05 -0400

JAKE CLELAND: A funny thing is the kinda-adage about folks thinking the best bands...

Wed, 12 Jun 2013 11:05:15 -0400

JAKE CLELAND: A funny thing is the kinda-adage about folks thinking the best bands...:

popcornnoises:

jakec:

A funny thing is the kinda-adage about folks thinking the best bands of all time coincided with the final stages of their formative years and yet if you listen to like 90% of the new music I’ve heard lately it seems they really think the best bands of all time were those behind the 80s pop hits we heard on the radio and saw on TV growing up in the early 90s.

Another thing is how growing up, 60s and 70s rock just seemed like the sound of music but listening to it now it all takes on an almost cinematic quality, I guess because it used to be the records your parents listened to whereas now it’s the records made cool by the nostalgic swamp of mid-late 20th century romanticism we’ve (I’ve) been bathing in since our (my) aforementioned formative years. I don’t think we’re stupid enough to really want to live then but it’s fun to pretend.

“This dream is drugging us all. Spiced-up, quick-cut docu-dramas like 24 Hour Party People and The Filth and the Fury reduce years—decades—of Friday nights at home, missed trains, bad drugs, breakups, bullshit bands, “State of the Nation”, the Professionals, Chequered Past, Revenge, Yes Please!, and eight-hundred thousand other hideous, embarrassing, myth-busting fuck-ups into one grand story, replete with an aching, dolorous sigh when it’s all over.”

- Chris Ott, “On Sofia Coppola’s Marie Antoinette”

Not that any of this music is really about nostalgia, but I think about this passage a lot.

“I don’t think we’re stupid enough to really want to live then but it’s fun to pretend.”

The past is a costume, y’know? Party fodder. That’s why most people don’t worry about all the ways we get it wrong—a huge Ott Topic—or lose much sleep over the downsides of the obsession (poor Simon Reynolds…). As the song implies, you can’t be nostalgic for an unremembered 80s. That’s not nostalgia, it’s costumery, and only people who lived through it the first time mistake it for anything else. Ain’t nothin’ wrong with costumes, neither. Part of the fun of dressing up is getting to let the outfit change your demeanor, to unveil your secret wishes to be the kind of person who looks this way. Sure, one of the reasons I resent Mad Men or any sort of Gatsby/flapper-20s stuff is the pretending gets out of hand and people forget what they’re really glorifying. At some point, you just lose track of all your ‘normal’ clothes and then all you’ve got left to wear are costumes and bathing suits. It’s a lot harder to dig down to the historical truth in music, though, so shouldn’t we just delete every ‘Year’ tag from our mp3s and say everything’s fair game? Or did I miss the memo and everyone else has already done that?

1. Ott is right. Entertainment, by definition, can’t capture the lives of regular people, because often our lives aren’t very entertaining. A film like Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles can do it, sure, but that’s not trying to capture any particular sub-culture or historical moment. For Saturday Night Fever to be really accurate, it’d be like 30 hours long, most of them featuring Tony working in Bay Ridge, a couple messed-up Saturday nights. You know how maps draw everything to scale? Entertaining version of history are like that.

2. The past is a costume, I agree. Where it gets problematic is who’s choosing the outfits. Not to get too basic PC liberal, but a book like The People’s History of the United States is a powerful corrective. Zinn talks a bit about F. Scott’s Fitzgerald’s essay “Echoes of a Jazz Age”, which features bits that probably don’t make it into Baz’s new Gatsby:

“By 1927 a widespread neurosis began to be evident, faintly signalled, like a nervous beating of the feet, by the popularity of crossword puzzles. I remember a fellow expatriate opening a letter from a mutual friend of ours, urging him to come home and be revitalized by the hardy, bracing qualities of the native soil. It was a strong letter and it affected us both deeply, until we noticed that it was headed from a nerve sanatorium in Pennsylvania.

By this time contemporaries of mine had begun to disappear into the dark maw of violence. A classmate killed his wife and himself on Long Island, another tumbled ‘accidently’ from a skyscraper in Philadelphia, another purposely from a skyscraper in New York. One was killed in a speak-easy in Chicago; another was beaten to death in a speak-easy in New York and crawled home to the Princeton Club to die; still another had his skull crushed by a maniac’s axe in an insane asylum where he was confined. These are not catastrophes that I went out of my way to look for - these were my friends; moreover, these things happened not during the depression but during the boom.”

2. I think Mad Men does a pretty good job of capturing its moment in history. It doesn’t try to capture every single social issue, which would be impossible. (slight spoilers) Surely, we’d see IRL Pete Campbell talking to Trudy more about MLK, for example, or signing a petition on the street, but we hold off on the reveal that he’s a cool dude Civil Rights-wise because it’s a moment of shock, and ultimately it is Don’s story.

But one of my favorite episodes of the show has to be the (spoiler, I guess) one where JFK is shot (sorry if I spoiled JFK getting shot for you). So much of the episode is people just watching TV, crying, being helpless. It’s a horrifying calm, and really that that’s how things felt. If entertainment can capture a certain feel of a historical moment, then it’s doing its job. The problem comes when we go to the same well again, again, and again.

Why Are Politicians So Awful on Twitter?

Tue, 11 Jun 2013 12:27:26 -0400

Why Are Politicians So Awful on Twitter?:

barthel:

Though it’s not surprising how quickly Twitter became subsumed into the established rhythms of political news, it’s a little disheartening. Here was a chance for our elected officials to interact directly with their constituents and to debate publicly with their peers, all while allowing us to see a more human side of these frequently caricatured public figures. Instead, we got retweeted compliments from supporters, bland updates sent out by a social media intern, and the occasional scandal. It doesn’t have to be this way. Some politicians are able to use social media in the way the rest of us are, which is to say they put out a staggering galumph of barely-considered text that gives us a pretty accurate picture of their train of thought and gives them cover from the occasional misstep. For all the scorn we throw at Sarah Palin’s Facebook presence (and not that Sarah Palin has been a politician for three years now, technically), her posts read exactly like what other people of Sarah Palin’s age and interests post on Facebook. Someone perusing her ramblings sans context could just as easily assume they came from your retired math teacher Mr. Goodwin as from the former governor of Alaska. That’s almost endearing; certainly you don’t leave asking “I wonder what Sarah Palin really thinks?”

I wrote about Hillary Clinton’s Twitter account and apparently endorsed Sarah Palin’s Facebook page?

This is so on point.

antirecords: Mavis Staples and Jay-Z

Mon, 10 Jun 2013 13:46:37 -0400

antirecords:

Mavis Staples and Jay-Z

"Science fiction isn’t just thinking about the world out there. It’s also thinking about how that..."

Mon, 10 Jun 2013 09:39:04 -0400

““Science fiction isn’t just thinking about the world out there. It’s also thinking about how that world might be—a particularly important exercise for those who are oppressed, because if they’re going to change the world we live in, they—and all of us—have to be able to think about a world that works differently.””

- Samuel R. Delany (via theparisreview)

dynamofire: amandahess: Sounds fair. google poetry such is...

Fri, 07 Jun 2013 16:24:28 -0400

dynamofire:

amandahess:

Sounds fair.

google poetry

such is life

sarahspy: via nprfreshair: Mitch Hurwitz, who worked on The...

Thu, 06 Jun 2013 10:50:23 -0400

sarahspy:

via nprfreshair:

Mitch Hurwitz, who worked on The Golden Girls before creating Arrested Development, tells Terry Gross about how the pressure of a writers’ room can lead to great jokes:

I remember Jim Vallely, as I said, one of the executive producers of Arrested, I remember being in a room with him [on Golden Girls] and there was a scene where Blanche was opening up birthday presents, and Jimmy yelled out, It’s a blouse! And everybody looked at Jimmy and he took a second, ‘You said you wanted something crotch-less!’ I remember saying to him, ‘Did you know you were going to say the crotch-less thing?’ And he said, ‘No, I had no idea, I just painted myself into a corner.’ And I love that. I think that’s such an important part of comedy. We do it all the time on Arrested, just paint ourselves into corners and try to get out. It’s all about constraints.

This is super interesting, because “lack of constraints” is like my Number One problem with new AD. Jokes keep going on and on, but not in a the funny Simpsons-rake way. It’s a conversation dragging on and on. These episodes really should have been 22 minutes each.

thepittsburghhistoryjournal: On This Day in Pittsburgh History:...

Thu, 06 Jun 2013 10:39:53 -0400

thepittsburghhistoryjournal:

On This Day in Pittsburgh History: June 6, 1932

A Bonus Army of World War I veterans marches through Pittsburgh en route to Washington. [Historic Pittsburgh; The Pittsburgh Press]

johnherrman: :(

Wed, 05 Jun 2013 18:12:56 -0400

johnherrman:

:(

flavorpill: Here is one of those occasions where someone you...

Wed, 05 Jun 2013 10:45:06 -0400

flavorpill:

Here is one of those occasions where someone you already like becomes even more awesome than you thought. Probably the most delightful thing you’ll watch all day.

Watch Patton Oswalt’s Video For ‘The Coup’

I don’t know if it was intentional or not, but this is the parody of Rap Genius we’ve all been waiting for.

occupygezipics: A young girl sells Anonymous masks in Taksim

Wed, 05 Jun 2013 09:56:54 -0400

occupygezipics:

A young girl sells Anonymous masks in Taksim