(Source: howtotalktogirlsatparties)
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You Can Only Hold Her For So Long..: Calloused Kingdoms - original poem
And Rome was built that day.
Swiftly, not conditioned to be
An empire.
I looked into your eyes and saw
A kingdom made of sand
So temporary
Envisioned majestic purple curtains
Certain to shield our reign from
The test of time
But we burned from the inside out
Before we could cross our…
- Posted 2 days ago
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GQ Endorses: The New White Suit
Don’t treat the white suit like some dainty costume. Split it in two, dress it down, get it dirty—and know which style icons to emulate. Try one this summer.
I can’t think of a better place.
THAT FACE.
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The Great Gatsby.
- Posted 1 week ago
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as much as i hate the word swag…
(Source: babbyynessaa)
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![gq:
Amen! D’Angelo Is Back!!
Sh-t. Damn. Motherf—ker! If you love D’Angelo like we do, this one’s gonna give you chills. GQ presents the neo-soul legend’s first extended interview and his first photo shoot in more than a decade. Here’s a brief bit of GQ correspondent Amy Wallace’s spellbinding profile, and click here to read the whole thing.
Shame, guilt, repentance—D’Angelo knows them well. To say that he was raised religious doesn’t begin to capture it. He’s the son and the grandson of Pentecostal preachers. To D’Angelo, good and evil are not abstract concepts but tangible forces he reckons with every day. In his life and in his music, he has always felt the tension between the sacred and the profane, the darkness and the light.
“You know what they say about Lucifer, right, before he was cast out?” D’Angelo asks me now. “Every angel has their specialty, and his was praise. They say that he could play every instrument with one finger and that the music was just awesome. And he was exceptionally beautiful, Lucifer—as an angel, he was.”
But after he descended into hell, Lucifer was fearsome, he tells me. “There’s forces that are going on that I don’t think a lot of motherfuckers that make music today are aware of,” he says. “It’s deep. I’ve felt it. I’ve felt other forces pulling at me.” He stubs out his cigarette and leans toward me, taking my hand. “This is a very powerful medium that we are involved in,” he says gravely. “I learned at an early age that what we were doing in the choir was just as important as the preacher. It was a ministry in itself. We could stir the pot, you know? The stage is our pulpit, and you can use all of that energy and that music and the lights and the colors and the sound. But you know, you’ve got to be careful.”
[Photograph by Gregory Harris]](http://25.media.tumblr.com/tumblr_m4fheluD8Y1qe6vsbo1_500.jpg)
gq:
Amen! D’Angelo Is Back!!
Sh-t. Damn. Motherf—ker! If you love D’Angelo like we do, this one’s gonna give you chills. GQ presents the neo-soul legend’s first extended interview and his first photo shoot in more than a decade. Here’s a brief bit of GQ correspondent Amy Wallace’s spellbinding profile, and click here to read the whole thing.
Shame, guilt, repentance—D’Angelo knows them well. To say that he was raised religious doesn’t begin to capture it. He’s the son and the grandson of Pentecostal preachers. To D’Angelo, good and evil are not abstract concepts but tangible forces he reckons with every day. In his life and in his music, he has always felt the tension between the sacred and the profane, the darkness and the light.
“You know what they say about Lucifer, right, before he was cast out?” D’Angelo asks me now. “Every angel has their specialty, and his was praise. They say that he could play every instrument with one finger and that the music was just awesome. And he was exceptionally beautiful, Lucifer—as an angel, he was.”
But after he descended into hell, Lucifer was fearsome, he tells me. “There’s forces that are going on that I don’t think a lot of motherfuckers that make music today are aware of,” he says. “It’s deep. I’ve felt it. I’ve felt other forces pulling at me.” He stubs out his cigarette and leans toward me, taking my hand. “This is a very powerful medium that we are involved in,” he says gravely. “I learned at an early age that what we were doing in the choir was just as important as the preacher. It was a ministry in itself. We could stir the pot, you know? The stage is our pulpit, and you can use all of that energy and that music and the lights and the colors and the sound. But you know, you’ve got to be careful.”
[Photograph by Gregory Harris]
