Install Theme



(Source: treeviper, via janesfoster)




(via zoranealethirston)

For all the black dudes who were slept on back in the day bc folks thought you were too nerdy/ too quiet / too geeky / too lame / too smart -


- it’s comeback season. Shine on em.

And FYI, I’m sure in the corner of the lunch room or something, there was a shy little shorty who would see you and saw the king in you. Even way back then.

(via black-kakashi)


If you missed it last Saturday (or want to relive Peter Capaldi’s debut once again), ‘Deep Breath’ is repeated at 7:45pm on BBC Three.

(Source: wie-ein-vogel, via thegleefulbird)


La dépossession 2014 
Toile de théâtre âpretée, peinture, tube acier et sangles
Dimensions variables Toile : 1000 x 1000 cm
Vue de l’exposition “All around fades to a heavy sound”, kamel mennour, Paris, 2014 © Latifa Echakhch Photo. Fabrice Seixas Courtesy the artist and kamel mennour, Paris

(Source:, via thegleefulbird)

(Source: joseguwop, via henneyehc)



Paisley Air Max. Yes please thank you.

i like these a lot


Photographer Henning Rogge captures how nature is healing from the scars left behind by the bombs of World War II.

About the project:

Henning Rogge’s photographs of landscapes at first appear as quiet, pastoral scenes of the German forest and countryside. Titled with their locations, they read as serene portraits of specific places whose import is unclear. As the viewer learns more information, however, the works’ meaning grows more complex. These are sites where World War II bombing has left its mark, once-decimated areas that now blend into their surroundings.

Rogge began photographing such craters after randomly encountering one in the forest. “I was amazed by its size and clear, circular shape,” he says. “After doing some research, I found out that many similar-looking holes still exist all over the country.” The artist scours the German landscape to find them, often consulting aerial photographs and relying on complex mapping techniques.

Little evidence exists of the violence that created such craters. They are often filled with water, like makeshift ponds, and overgrown with trees. Rogge’s photographs point to this disconnect—the way violent histories can later appear as placid landscapes. “The craters are special to me because they don’t come across as dramatic like other sites connected to war,” he says. “They are more abstract. This sense of disconnection reflects my own position toward this period of German history, which is almost unimaginable to me.”