Let me put my thoughts in you.
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Reblogged from lacienegasmiled  48,669 notes


As Jackson couldn’t fluently play any instruments, he would sing and beatbox out how he wanted his songs to sound by himself on tape, layering the vocals, harmonies and rhythm before having instrumentalists come in to complete the songs.

One of his engineers Robmix on how Jackson worked: “One morning MJ came in with a new song he had written overnight. We called in a guitar player, and Michael sang every note of every chord to him. “here’s the first chord first note, second note, third note. Here’s the second chord first note, second note, third note”, etc., etc. We then witnessed him giving the most heartfelt and profound vocal performance, live in the control room through an SM57. He would sing us an entire string arrangement, every part. Steve Porcaro once told me he witnessed MJ doing that with the string section in the room. Had it all in his head, harmony and everything. Not just little eight bar loop ideas. he would actually sing the entire arrangement into a micro-cassette recorder complete with stops and fills.”

Reasons why I laugh when people say he wasn’t a real musician.

This is one of the coolest things ever.

  • Track: Beat It (Demo)
  • Artist: Michael Jackson
  • Album: The Ultimate Fan Extras Collection
  • Plays: 1535997

A List of “Men’s Rights” Issues That Feminism Is Already Working On

Feminists do not want you to lose custody of your children. The assumption that women are naturally better caregivers is part of patriarchy.

Feminists do not like commercials in which bumbling dads mess up the laundry and competent wives have to bustle in and fix it. The assumption that women are naturally better housekeepers is part of patriarchy.

Feminists do not want you to have to make alimony payments. Alimony is set up to combat the fact that women have been historically expected to prioritize domestic duties over professional goals, thus minimizing their earning potential if their “traditional” marriages end. The assumption that wives should make babies instead of money is part of patriarchy.

Feminists do not want anyone to get raped in prison. Permissiveness and jokes about prison rape are part of rape culture, which is part of patriarchy.

Feminists do not want anyone to be falsely accused of rape. False rape accusations discredit rape victims, which reinforces rape culture, which is part of patriarchy.

Feminists do not want you to be lonely and we do not hate “nice guys.” The idea that certain people are inherently more valuable than other people because of superficial physical attributes is part of patriarchy.

Feminists do not want you to have to pay for dinner. We want the opportunity to achieve financial success on par with men in any field we choose (and are qualified for), and the fact that we currently don’t is part of patriarchy. The idea that men should coddle and provide for women, and/or purchase their affections in romantic contexts, is condescending and damaging and part of patriarchy.

Feminists do not want you to be maimed or killed in industrial accidents, or toil in coal mines while we do cushy secretarial work and various yarn-themed activities. The fact that women have long been shut out of dangerous industrial jobs (by men, by the way) is part of patriarchy.

Feminists do not want you to commit suicide. Any pressures and expectations that lower the quality of life of either gender are part of patriarchy. The fact that depression is characterized as an effeminate weakness, making men less likely to seek treatment, is part of patriarchy.

Feminists do not want you to be viewed with suspicion when you take your child to the park (men frequently insist that this is a serious issue, so I will take them at their word). The assumption that men are insatiable sexual animals, combined with the idea that it’s unnatural for men to care for children, is part of patriarchy.

Feminists do not want you to be drafted and then die in a war while we stay home and iron stuff. The idea that women are too weak to fight or too delicate to function in a military setting is part of patriarchy.

Feminists do not want women to escape prosecution on legitimate domestic violence charges, nor do we want men to be ridiculed for being raped or abused. The idea that women are naturally gentle and compliant and that victimhood is inherently feminine is part of patriarchy.

Feminists hate patriarchy. We do not hate you.

If you really care about those issues as passionately as you say you do, you should be thanking feminists, because feminism is a social movement actively dedicated to dismantling every single one of them. The fact that you blame feminists—your allies—for problems against which they have been struggling for decades suggests that supporting men isn’t nearly as important to you as resenting women. We care about your problems a lot. Could you try caring about ours?


Autostraddle (via notaprincessdestinedtobeawitch)

Guys. You need to read this.

(via abaldwin360)

when did Tumblr Social Awareness become incredible?

(via paulypotluck)

Reblogging again, because.

Tomorrow is not necessarily an inherently meaningful day.

That doesn’t mean you shouldn’t be nice to people this weekend.

If you’re romantically involved, it’s probably a good time to mention you care about that person.

If you aren’t, it’s probably good to appreciate the people you care about platonically.

Just try to be a nice person today and tomorrow.*

*This applies to all days.

My favorite albums of 2013

Justin Timberlake – “The 20/20 Experience”
This album is, on paper, impossible. Nearly-ten-minute experimental meanderings that eschew Timberlake’s typical R&B stomping grounds in favor of unabashedly retro AOS? Not exactly what the world was clamoring for the last five years. But after the first thirty seconds of “Pusher Love Girl,” Timberlake’s vision crystallizes and collaborator Timbaland’s lush, string-laden production washes away everything else, until suddenly you realize what it might have been like to drop the needle on “Around The World In A Day” for the first time in 1985.

Jason Isbell – “Southeastern”
I can’t think of a songwriter who makes me cry half as often as Jason Isbell. 2011’s “Here We Rest” was a powerful, haunting collection, and by far the best thing he’d released with The 400 Unit. “Southeastern” takes away the safety net the band provided. Isbell is a raw nerve and every excruciating moment is utterly unmissable.

Run The Jewels – “Run The Jewels”
Killer Mike’s “R.A.P. Music” was a juggernaut of an album last year, thanks in no small part to the production by El-P…who also released a killer album of his own last year. Their first group collaboration is unstoppable, and a sterling example of what can happen when a rapper and a producer realize a vision greater than either of them.

Biffy Clyro – “Opposites”
A double album is risky. A lot of the time, there’s simply too much music to take in at once. But, coming off the brilliant “Only Revolutions,” Biffy Clyro unleashed this monster of an album, two discs of the best music of their career. To give a sense of perspective, sprawling, grandiose “Black Chandelier” is by far the weakest track in the collection.
Mayer Hawthorne – “Where Does This Door Go”
The second white retro-70’s R&B crooner album on the list, “Where Does This Door Go” shows a tremendous understanding of not only melody and composition, but of deftly calculated confidence. Hawthorne comes across on record as a perfect gentleman, a balance of high-class swagger and humanistic compassion, walking the hitherto-unknown line between Snoop Dogg and Steely Dan.
Queens Of The Stone Age – “…Like Clockwork”
The press for this album was either horrifically mismanaged, or brilliantly calculated to the smallest degree. “It’s the Songs For The Deaf lineup,” they said. “It’s a return to the band’s roots,” they promised. Then the band delivered this collection of sun-scorched dirges, which was simultaneously deeply disappointing and inexplicably compelling. Each subsequent listen uncovered new layers, highlighted new peaks and valleys. Josh Homme’s robotic monotone has never sounded so sinister, and through every song, there’s an unsettling feeling that he’s got you exactly where he wants you.

Matt Pond  – “The Lives Inside The Lines In Your Hand”
This is the kind of music that makes it feel like the world has stopped turning, if just for a little while. There’s a kind of impossible longing to these songs, a yearning to discover something new coupled with sadness that you already know it even if you can’t put your finger on what it is. It’s a deeply flawed album, but those flaws somehow make the whole experience more beautiful.
Dessa – “Parts of Speech”
I defy you to find a better lyricist than Dessa making music in 2013. Spinning` and twirling between turns of phrase with a delivery that’s as much world-weary melancholy as it is raging anger at the world that has caused it, her words and her voice  create a larger message together than either could alone.
Haim – “Days Are Gone”
Somehow, I missed this album when it came around, but was completely blown away by their performance on SNL. The album is a little tamer, but it manages to be poppy without being predictable, schlocky without being off-putting, feminine without being overly feminized, and somehow pretentiously retro in an aggressively authentic sort of way. “The Wire” is a great single, but it’s just a starting point. 

Chance The Rapper – “Acid Rap”
I don’t remember the last time I found an album I couldn’t stop listening to because I couldn’t decide if I loved it or hated it. Chance’s delivery can be jarring, but if you can get past the idiosyncrasies, his flow is utterly unique, his wordplay is fantastically nimble, his guest spots are brilliantly chosen, and throughout the proceeding, there’s an underlying sense that you might just be hearing the next big thing—and he might not even know it yet.