Grief is a frightening condition, and at its extreme is like the sun: impossible to look at directly.
2 Chainz said Kanye did some of the Photoshop work for the DONDA-designed B.O.A.T.S.: II cover. Does Kanye do a lot of DONDA graphic design himself? It’s funny, because I didn’t know he was as computer savvy as he was, because I’m just not. At all. He shows me his things—I see them in hand-sketch form, then I get to see them on a computer and edits from things like that. Kanye does a hell of a lot of sketching, in an idea sense. A hell of a lot. I’m sure Kanye will also utilize the likes of a Joe or a Virgil if something is not to where he thinks it could totally be.
Was Kanye always an expert at design programs? If not, when did he pick them up? I have no clue. But when I met him, he didn’t have a phone and only lived by the computer. So I figured that would be his twist. I noticed [his interest in design] when I first went to Hawaii for My Beautiful Dark Twisted Fantasy, with the art direction on that and the [George] Condo work. Then he had a lot to do with the art surrounding his shows—the ballerinas. Kanye really mapped that whole thing, the aesthetics of it, out.
thank you rjs
But why do we still so often look to the unknown spaces, other languages, and new names? Why do we invent and stay rooted in a language that only we understand? I think black Americans have needed space and the realm of the incomprehensible — as a kind of haven, an alienated otherworld, whirling with unknowns and new freedoms for a very simple reason: because our real life here on earth has at times been more than a drag.
You can’t control why someone picked you. As much as I’d like to think I got into my alma mater purely on grades, essays, SAT scores, and recommendations, I’ll never really know. What I do know is that it didn’t hurt that I was black and a good student. And the only thing I could control was leaving that environment unequivocally not as quota filler, but as an irreplaceable spoke in the wheel.
A good sex scene needs thwartedness, surprise, innocence and hair.
Advocates of Nordic social democracy should be thrilled to discover a perk of gender-equalizing work-family reconciliation policies: they combat skeeviness. Roosh comes to the conclusion that women who aren’t as dependent on men for financial support are not susceptible to the narcissistic salesmanship that constitutes phase one: “attraction.” That’s why Roosh fails to advance to the second level—”trust”—without being creepy. Thus “seduction” is almost always out of the question. We can agree with pick-up artists that men and women exhibit some behavioral differences. But the PUA framework places their sources in evolution instead of the sexual and social division of labor. In her essay “A Marxist Theory of Women’s Nature,” philosopher Nancy Holmstrom argues that women’s lives are less free than men’s under capitalism “both because they are dependent on men and because they have children dependent on them.” Therefore, “traditional sexual values constrain women more than they do men,” and women “are less able to act to realize their own desires” and must be “more passive and oriented to other people’s wishes than men.” But in societies with a less marked sexual division of labor, those sexualized generalizations dissipate. Marginalized women who need male spouses to flourish might, indeed, find pick-up artists alluring. But women in countries that have gender-equalizing policies supported by an anti-individualist culture may not.