I have never been too much into shipping but I swear to god if Marcille and Falin don’t at the VERY LEAST make out for 5 uninterrupted minutes on screen I will explode
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🏈 Ernie Barnes 🎨
Ernie Barnes - Fast Break - 1987
Ernie Barnes - Storm Dance - 1977
Ernie Barnes - In the Beginning
Ernie Barnes - Detail of "Stored Dreams" His only still life.
Ernie Barnes - From the Pocket
Ernie Barnes - Drum Major
Ernie Barnes - Marble Shooter - 1969
Ernie Barnes - Pool Hustlers
Ernie Barnes - Pool Hall - 1970
Ernie Barnes - Main Street Pool Hall - 1978
Ernie Barnes - Every Night, All Night - 1974
Ernie Barnes - 1939 – 2009
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Fucking hell the brainrot is making me lose my god damn mind.
I've been obsessed with fictional characters my entire fucking life.
It's never been THIS bad.
I need to break open my skull and pour ice water directly on my brain.
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can someone please explain the huge upswing of interest with ‘atmospheric drum n bass’ other than it slaps? I’m not against it but there’s gotta be a reason or some huge account on twitter or something that must be sharing these mixes like wildfire and people keep making them all the time now with the occasional Bryce 3D art or just memes mixed with retro game footage.
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im so sorry for saying vin diesel in fast and furious was an lgbt ally i should know a bi legend when i see one
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I hate mainstream song interpolations I hate lazy nostalgia-bait remixes I hate weak surface-level lyrics I hate turning recognisable hooks from dead artists into toothless commercial jingles I hate lazy techno beats barely transforming songs I hate you David Guetta I hate you Bebe Rexha I hate you Post Malone I hate you Ella Henderson I hate you Rudimental I hate you Luude I hate you Coi Lerae
PNAU get a pass in my book because regardless of how you feel about the quality of the music, they are actually remixing those songs - every PNAU release has cut multiple Elton John songs together, including some deep fucking cuts like Kiss The Bride - and they're explicitly working with Elton John to create music that complements and homages his 40+ years of original output.
The only good to come out of Post Malone's half-baked Return of the Mack remix, David Guetta and Bebe Rexha's I'm Good (Alright) and Ella Henderson and Rudimental's Alibi is the possibility of the original artists - or their estates - getting a check. Otherwise, this dogshit trend of song interpolations that dangle barely-changed hooks, loosely rearranged songs and shitty techno beats in front of an audience like they're a bunch of toddlers is nothing but a grim, futile, creatively bankrupt farce.
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