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20 Feb 18:36

little-tunny:im subscribed, are you?



little-tunny:

im subscribed, are you?

20 Feb 17:59

Photo



19 Feb 23:25

Photo



19 Feb 08:40

Leeeeroy jenkins! [video]



Leeeeroy jenkins! [video]

19 Feb 08:20

kurowrites: kurowrites: bamfcoyotetango: fashionsfromhistory: ...



kurowrites:

kurowrites:

bamfcoyotetango:

fashionsfromhistory:

Firefighter Uniform

Japan

c.1900

The MET

Fun fact: That is made with real indigo grown on a farm.

The heat index real indigo can take is up to 1500 degrees Fahrenheit, which is why it was used for centuries.

Another fun fact: Japanese firefighters were hardcore and very proud of their job and abilities. If anyone is interested, I can dig out some amazing images.

Okay guys, so here it is: History lesson about the firemen in Edo, Japan. (Because I need to impart some knowledge before I get to the fun part.)

Edo (now Tokyo) in the 17th century had some massive problems. The city had only become the official capital in 1603. Before the 16th century, it had been an inconsequental fishing town. After becoming the capital, the city boomed and population more or less exploded.

The numbers I could find are the following:

  • 1640: 400′000 residents
  • 1693: 800′000 residents
  • 1721: 1′100′000 residents

All in all, Edo became a massive, sprawling city in a very short amount of time. All kinds of people came to Edo, from poor women that were literally sold into prostiution by their parents to the leaders of the country.

The rapid population growth wasn’t the only problem the city faced, however. Some other factors include:

  • Building material: Most houses were built almost entirely out of wood, which, surprise, burns easily.
  • Building structures: Houses were often built in rows, with narrow streets in between, perfect for the quick spread of fire
  • Weather: Constant strong winds, especially in the winter and in spring, helped along with that, too
  • Arson: Yes, people literally set fires in the hope that they would manage to loot something valuable in the process. These people were often from the lower strata of society, showing that not all was well in Edo. (In short: being poor sucks massively.) Sometime merchants just wanted to destroy their rival’s business, though. Burn that fucker to the ground, or something like that.

Due to these factors, the city experienced 49 large fires between 1601 and 1867, and over a thousand smaller fires. Which means there were approximately 7 smaller fires a year, as well as one massive fire every five years… not great odds if you just wanna do your thing in the big city. The largest fire in 1657 killed around 100′000 people, which was, if you look at the numbers up there, probably around a quarter of the population.

While the shogun quickly commanded the creation of a firefighting force to prevent the burning of his buildings, he was less concerned about the rest of the city. It took until the 18th century (I think somewhere in the 1720s) until he finally ordered the creation of a city-wide firefighting force that protected people from fires and put them out.

In short, because of the frequency of the fires, this was a massively important job.

(Above: Fireman in gear. Take note of the fire hook. These hooks were standard gear for any firefighter, and usually used to destroy buildings to prevent the spread of a fire.)

(Above: Firemen at work. The lanterns and the matoi they are carrying are symbols to identify the “department”.)

And I don’t know, but it seems like an universal rule that important people like to show off, or maybe it’s just a side-effect of running into rapidly-spreading fires, but at some point, they started the tradition of “ladder climbing.” It’s now part of a yearly ceremony that takes place just after new years, but the exact origin of this tradition is unclear.

(Above: We have no time for your foolish safety measures. Get on our level. Hahahaha.)

Anyway, what they do every year in this ceremony is this:

One or more dudes climb a straight ladder that’s only secured with the fire hooks of their colleagues on the ground (you can see them do that in the image), and on top of that ladder they perform various acrobatic feats to show off their awesome firefighting skills (not really). Now if you say this is obviously a print and does not depict reality at all, let me direct you towards some newer technology:

(Above: AAAAH.)

And the tradition lives on until today:

(Above: You can also clearly see this goddamn ladder is not secured at all, other than with the fire hooks. You can only hope none of your colleagues are planning to murder you.)

And if you want to see the entire thing in movement:

In this video, you can see some very nice close-ups of the ladder and the way it’s being secured by the fire hooks. The best stunts come towards the end. Here you can see three dudes on the ladder, and here’s a video of a woman doing the stunts.

Honestly, I could go on enternally, but there you go. The badass firefighters of ye olde Japan.

19 Feb 07:26

tastefullyoffensive: Dixie has an Instagram. (via mhooper_2014)

19 Feb 06:21

Photo

Cary

the one on the right looks proud



19 Feb 05:58

meganphntmgrl: meganphntmgrl: this is the single most...



meganphntmgrl:

meganphntmgrl:

this is the single most important teaser image for infinity war

Nebula, in a low, threatening voice: I’ve only known Shuri for a day, but if anything happened to her, I would kill [voice gradually rises to an aggressive, rough shout] EVERYONE IN THIS ROOM! [low voice again, now even more hollow because she barely caught her breath] and then myself

19 Feb 04:05

iamverysorry: cloudfreed: elle-emeno-pee: iscaro: i would buy...



iamverysorry:

cloudfreed:

elle-emeno-pee:

iscaro:

i would buy this

same tho

this is like reverse sneaking out. sneak even further into your own home

DUDE

19 Feb 02:58

hmmm



hmmm

19 Feb 02:56

Photo



19 Feb 02:01

Photo



19 Feb 00:34

midnightmindcave: braezenkitty: key–lime–pie: celticpyro: lesbianshepard: lesbianshepard: honey...

midnightmindcave:

braezenkitty:

key–lime–pie:

celticpyro:

lesbianshepard:

lesbianshepard:

honey is the only food product that never spoils. there are pots of honey that are over five thousand years old and still completely edible

i also want to point out we know it tastes the same even after thousands of years b/c archaeologists who discovered two thousand year old honey tasted it. presumably right after they looked at each other and went “what the hell here goes nothing”

I’m pretty sure they also identify human remains by taste. Archaeologists are straight up freaks.

No, no no… you identify bone from rock or other substances by touching it to your tongue. If it sticks, it’s bone. The taste itself has nothing to do with it. And most archaeologists won’t lick human bones if they know they’re human.

…and I realize that doesn’t actually do much to prove archaeologists aren’t freaks.

mai nam is jane
and wen i dig
i fynde some roks
both smol and big
i put my tung
upon the stone
for science yes
i lik the bone

18 Feb 22:25

pinkmarco: Tony Stark *Wakes up in the middle of the night to see Peter an inch from his...

pinkmarco:

Tony Stark *Wakes up in the middle of the night to see Peter an inch from his face*

Peter: So we had this id- stop screaming- so we had this idea

Tony Stark: What the hell, who’s we?

Shuri *directly beside his face*: We had this idea

Tony Stark: Christ there’s two of them

18 Feb 21:59

Photo



18 Feb 21:47

morethanonepage: girilla-warfare: girilla-warfare: it’s a...



morethanonepage:

girilla-warfare:

girilla-warfare:

it’s a metaphor for my life

ALSO ALSO- a guy commented “pandejos” and I screech laughed until my ribs ached

Chinos Poblanos.

16 Feb 23:32

37 Artists Native to the Americas Weave Stories of Migration and Geography

by Jillian Steinhauer
Installation view of Monarchs at the Bemis Center for Contemporary Arts, with Jeffrey Gibson’s “Like A Hammer” (2016) in the foreground (all photos by the author for Hyperallergic)

OMAHA — Surveys of contemporary American art aren’t uncommon, but it’s rare to see one solely focused on “people native to the Americas.” That’s one of the starting points of Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly, an exhibition currently on view at the Bemis Center for Contemporary Arts, along with a geographical conceit: the middle of the United States merits closer attention. Monarchs mines these arguably underexplored premises and turns up capacious, invigorating results. Although the show isn’t didactic, its politics feel vitally relevant in a time of bald-faced white supremacy and discrimination.

Margarita Cabrera, “The Craft of Resistance” (2008), hammered copper

The conceptual focus of the exhibition is the monarch, the only butterfly that migrates in two directions, as birds do. Monarchs (specifically eastern North American ones) travel between Canada or the northern U.S. and Mexico, where they spend the winter. A migration can cover up to 3,000 miles and takes three to four generations of butterflies to complete.

Monarchs traverse many parts of the US, but one of their primary pathways runs through the middle of the country, through so-called “flyover states” like Oklahoma, Nebraska (home of the Bemis Center), Minnesota, and the Dakotas—where the Standing Rock Reservation is located. When curator Risa Puleo (who has contributed to Hyperallergic) conceived of the exhibition, in the summer of 2016, members of the Standing Rock Sioux and other water protectors were facing off against the builders of the Dakota Access Pipeline. Meanwhile, Donald Trump was on the campaign trail, talking about building a wall between the US and Mexico. Puleo saw these phenomena, despite their geographic distance, as “conceptually undergirded by a logic of occupation that has dictated policies managing and containing the lives of people indigenous to the Americas for the past 170 years,” she writes in her introduction to the catalogue for the show. When she traced a line between Standing Rock and the US–Mexico border, she found that it followed the path of the butterfly.

If this sounds like an overly elaborate conceptual premise for an art exhibition, well, it might be. Puleo has gathered works by 37 artists who are Native and Brown — her preferred terms for those of Native American and Latin American descent — and either come from or live in the monarch’s migration path. Those are salient identity factors, but not necessarily enough of a foundation on which to build a cohesive show. Instead, what holds together Monarchs — which fills all the Bemis’s galleries — are common themes among the artists’ work, some of which derive from traits that Puleo identifies in the butterfly.

Installation view of Gina Adams’s Its Honor is Here Pledged (2015), modified vintage quilts

One of the most important is migration itself — or the opposite, a lack of movement. Both positions imply a specific relationship to the land. Take, for example, one of the first works you see upon entering the Bemis: Gina Adams’s Its Honor is Here Pledged, an installation of her Broken Treaty Quilts. Adams makes the works by cutting out letters from new and used calico, then sewing them onto found antique quilts. Each modified quilt contains the text of a different treaty between the US government and Native American nations between 1778 to 1871. One of the quilts at the Bemis displays the 1848 Treaty of Guadalupe Hidalgo, which ended the Mexican–American War and set the new border between the two countries.

Fittingly, Adams’s quilts hang in a line in a hallway-turned-gallery, suggesting movement through both space and time. Their clashing patterns make the text hard to read — a fitting state for treaties that were almost always broken, amended, or ignored by the US. Standing before and among them in the gallery makes you think about the land under your feet, and the people from whom it was stolen. Elements of Nathan Young’s nearby sound work, “Hatkiraar (STUTTER)” (2017), also fill the air: droning sine tones and Pawnee elders translating traditional songs of their people. In the late 18th and early 19th centuries, the Pawnee lived, among other places, in Nebraska.

Gonzalo Reyes Rodriguez, still from “Contrapoder #1” (2017), multichannel video (image courtesy the Bemis Center)

What was once migration becomes displacement: this is both a historical and an ongoing reality for many people in the Americas. Gonzalo Reyes Rodriguez explores it in his multichannel video of immigration and anti-gentrification activists, who read aloud revolutionary speeches from Mexican golden-age films at contested sites around present-day Chicago. At first, the language feels dated and the readers hesitant, their delivery almost deadpan. But as the activists settle into the words, their potential power becomes palpable.

Cannupa Hanska Luger and Marty Two Bulls Jr. render the effects of displacement in their collaboration “Wasted” (2017). The installation is an accumulation of handmade ceramic alcohol containers, which look as though they’ve been shot through with holes, crushed, or topped with cigarettes (also ceramic). Native stereotypes, such as the racist mascot of the Cleveland Indians baseball team, appear on some of the bottles, while sculpted arrows and knives hint at violence. The work is both a remarkable display of skill and a devastating representation of the alcoholism that has plagued Native communities since the arrival of European colonists.

Cannupa Hanska Luger and Marty Two Bulls Jr., “Wasted” (2017), 180 x 15 x 20 in
Cannupa Hanska Luger and Marty Two Bulls Jr., detail of “Wasted” (2017)

Colonization and assimilation — and the question of what differentiates them — appear throughout Monarchs, most hilariously in Merritt Johnson’s video series Exorcising America (2014). The short videos show Johnson attempting to enact popular English idioms and expressions, such as “don’t bite the hand that feeds you” and “keep your head up.” A female voice provides information and instructions to Johnson in an eerily pleasant tone, explaining, “In order to know your place, you must study where you stand” and instructing her to put on multiple pairs of pants and tape them together in order to keep her pants on. She does this, with some difficulty.

Merritt Johnson, “Exorcising America: Bootstrapping” (2014), single-channel performance video, 2 mins, 51 secs

By pointing out the absurdity of common expressions, Johnson deflates the ego of white America, demonstrating that anything can seem ridiculous when it’s foreign. This brings up another — perhaps the most important — theme of the exhibition: what Puleo calls “inheritance,” meaning a kind of knowledge acquired from previous generations. She links this to the monarch’s migration, since the butterflies always know when and where to go, despite never having migrated before. (Scientists are still trying to understand this phenomenon.)

Inheritance is preserved in the archival projects in the show: Guadalupe Rosales’s “Map Pointz” (2017), which displays a rainbow of flyers, photographs, and magazines from the 1990s Latino party crew and rave scene in LA (posted on Instagram at @map-pointz); and Josh Rios and Anthony Romero’s “Is Our Future a Thing of the Past?” (2015–present), a collection of materials related to Brown visions of the future, aka Chicanx Futurism (including a range of work by Chicano science fiction writer Ernest Hogan). They share a gallery with two meditative videos by Sky Hopinka, in which he learns Chinuk Wawa, an indigenous and nearly extinct language, and logs a series of audio recordings sent to him by his father, a powwow musician. All these artists have amassed collections to which they have deeply personal relationships, working as both heirs and protectors.

Josh Rios and Anthony Romero, detail of “Is Our Future a Thing of the Past?” (2015–present), various science fiction magazines, novels, collages, framed drawings, and artifacts featuring Ernest Hogan’s writings and illustrations; assorted prints and digitized 8mm film footage derived from the play Stranger in a Strange Land directed by Crystal City, TX, high school students and playwright Gregg Barrios; photographs of anti-Vietnam and anti-deportation protests; Lowrider Arte magazine Flights of Imagination: Taking the Culture into the Future; Victor Payan Keep on Crossin’ patch; Aztec Challenge, a computer program cassette made for 1980s-era video game systems; assorted patches depicting the Aztec calendar; Risograph prints of digitally manipulated glass lantern slides from the University of Chicago; Lysa Rivera quote printed in vinyl; postcard of Crystal City courthouse; David Bowie single “Crystal Japan”; copy of U.S. Commission on Civil Rights report Stranger in One’s Land; takeaway publication in handmade wall-mounted literature holder
Dyani White Hawk, “Black and White IV” (2016), acrylic, gold leaf, porcupine quills, beads, thread on linen, 9 x 9 in

Others in Monarchs engage with their inheritance by updating it. Dyani White Hawk masters quillwork by incorporating it into her paintings — she meticulously places quills to form blocks of color in “Black and White IV” (2016) — and by imitating it, in the masses of tiny brushstrokes that make up the five-by-seven-foot “Untitled” (2017). Truman Lowe’s parents were basket makers; he responds by unweaving a basket to create the elegant abstract sculpture “Waterfall” (1993). Inspired by arpilleras, the textiles sewn by Chilean women to show scenes of poverty and oppression during Pinochet’s dictatorship, Sarah Zapata created “Siempre X” (2015–16), a modern, abstracted arpillera whose playfulness is offset by clumps of hair and other suggestions of women’s body parts.

There’s a resourcefulness that permeates Monarchs, a pattern of artists taking what they’ve been given — whether an artistic tradition, a construction material, or a treaty — and transforming it into something new. This is a method of adaptation and growth, an expression of the politics of resilience. “Exercising survival is inherently disruptive,” Merritt Johnson and Nicholas Galanin say in their video “Exorcising America: Survival Exercises” (2017). The artists in Monarchs have had to survive marginalization for too long, but they are, unflinchingly, still here.

Sarah Zapata, “Siempre X” (2015–16), hand-woven fabric, natural and synthetic fiber, denim, vinyl, rhinestones, 72 x 120 in
Installation view of Monarchs at the Bemis Center, with, left: Truman Lowe, “Waterfall” (1993), pine, 74 x 72 x 67 in; right foreground: Harold Mendez and Ronny Quevedo, “Specter field (After Vicabamba)” (2015), linoleum tiles, gold and silver leaf, fiberglass mesh, spray enamel, graphite, charcoal, black silicone carbide, marking chalk, carnations, water, peanut oil, oxidized copper reproduction of a pre-Columbian death mask from the Museo del Oro (Bogota, Colombia); right, background: Ivan Lozano, “Un Sarape (A Palimpsest) 002” (2017) and “Un Sarape (A Palimpsest) 003” (2017), packing tape, Google Image Search, inkjet ink, acrylic, copper, LEDs, rope
Nathan Young performing in his installation “Hatkiraar (STUTTER)” (2017) on January 13
Rodolfo Marron III, detail of “Michoacánx” (2017), mixed media
Nancy Friedemann-Sánchez, “Landscape” (2017), Tyvek, mopa mopa, 112 ½ x 67 ½ in
Guadalupe Rosales, “Map Pointz” (2017), installation of Southern California party flyers, magazines
and ephemera from the 1990s
Salvador Jimenez Flores, detail of “Nopales hibridos: An Imaginary World of a Rascuache-Futurism” (2017), rerra-cotta, porcelain, underglazes, gold luster and terra-cotta slip, 96 x 96 x 96 in

Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly continues at the Bemis Center (724 S 12th Street, Omaha, Nebraska) through February 24.

Editor’s note: The author’s travel expenses were paid for and lodging provided by the Bemis Center.

The post 37 Artists Native to the Americas Weave Stories of Migration and Geography appeared first on Hyperallergic.

16 Feb 22:52

lvcashael: people + animals Star Wars cast and Gary Fisher



















lvcashael:

people + animals

Star Wars cast and Gary Fisher
16 Feb 22:40

cosmicnightmareplanet: yourphysicsiskarkatrocious: aplpaca: kinda funny when english teachers say...

cosmicnightmareplanet:

yourphysicsiskarkatrocious:

aplpaca:

kinda funny when english teachers say stuff like “i can tell if you didnt read the book” or “i can tell when people bs their paper”

no you cant.  you can tell when people are bad at bs-ing their paper.  i didnt even read the sparknotes and i barely skimmed the wikipedia and you gave me an A.  you kneel before my throne unaware that it was born of lies

“YOU KNEEL BEFORE MY THRONE UNAWARE THAT IT WAS BORN OF LIES” IS ONE OF THE GREATEST SENTENCES I’VE EVER READ AND I CAN’T FUCKING BELIEVE IT’S ON A POST ABOUT BULLSHITTING ON ASSIGNMENTS.

listen I’m an english teacher now and I don’t think people understand how bad people are at bullshitting. multiple people per semester will submit the most flagrantly clueless papers I’ve ever seen. one student submitted an “essay” about the book that was literally just rephrasing the chapter titles over and over. another student was supposed to write an essay on local history and turned in a 3 page paper about how she won a cheerleading competition in high school bc she didn’t do any of the research. Both of these students then wrote me angrily because they got Ds. I derailed my class for a full week JUST to teach these people how to bullshit because I thought everyone on earth knew how to use sparknotes, skim stuff, and fake their way thru an essay. it turns out that 50% of the class literally did not know you can and should get summaries, essay topics, and relevant research info online, OR how to fuckin skim a chapter. It was called Bullshit Week and it was the most valuable lesson I taught. people contacted me about it after and said it was their favorite english unit ever. when english teachers say “i can tell if u didn’t read the book” it’s because we expect you to SEEM like you read the book since “reading the book” is like the sole point of the class. If you’re gonna try to con me I at least expect to be dazzled. dazzle is how I got my job.

16 Feb 00:57

limitedtimeoffer: Mary Nohl’s basement

16 Feb 00:30

fuck-yeah-elm-street: spinningneckbreaker: What if 80′s horror...





















fuck-yeah-elm-street:

spinningneckbreaker:

What if 80′s horror movies were children’s books?

(by artist Andrew Peña)

OH
MY
GOD

16 Feb 00:16

the-absolute-funniest-posts:you can have 14 pancakes or 132...



the-absolute-funniest-posts:

you can have 14 pancakes or 132 there is no inbetween

15 Feb 23:54

the-rain-monster: bando–grand-scamyon: former-fatty: mariestoc...

















the-rain-monster:

bando–grand-scamyon:

former-fatty:

mariestocat:

inthemoodforportnawak:

Buddah Cats - KyleKahotek (Imgur)

I am so happy

There’s something pure in this photoset.

The last one omg

And-uh I’ve reblogged this post before

And-uh I’ll reblog this post again

Just to be the blog that posts a thousand

Buddhas and sleepy kittens.

15 Feb 23:42

For Those With Autism, Eye Contact Isn't Just Weird, It's Distressing

For Those With Autism, Eye Contact Isn't Just Weird, It's Distressing:

transcoranic:

soprie:

mindblowingscience:

For many people with autism, avoiding eye contact isn’t a sign that they don’t care – instead, it’s a response to a deeply uncomfortable sensation.

Researchers have discovered a part of the brain responsible for helping newborns turn towards familiar faces is abnormally activated among those on the autism spectrum, suggesting therapies that force eye contact could inadvertently be inducing anxiety.

Autism spectrum disorder is a term used to describe a variety of conditions that make communicating and socialising a challenge, and is often accompanied by restricted and repetitive behaviours.

A defining characteristic of autism spectrum disorder is a difficulty in making or maintaining eye contact, a behaviour that not only makes social interactions harder, but can lead to miscommunication among cultures where eye contact is taken as a sign of trust and respect.

Those with the condition typically claim it feels “unnatural” or express anxiety over making eye contact, but psychologists have been uncertain if the discomfort is sensory or stems from conflict over the social importance of looking a person in the eye when you communicate.

Previous research suggested the latter, but a team of neurologists from the Massachusetts General Hospital in the US suspected the problem might be over-sensitivity of the parts of the brain responsible for emotional perception.

Continue Reading.

Really? You had to do a study?

Instead of just…. listening to us?

Studies like these are critical in turning anec-data (singular testimonies from people) into actual, quantifiable research. So yes, they did need to do a study because now people can cite the study, use the study to justify treatments, and generally help people in a way they couldn’t when all they had was correlation.

Because they people running the study actually listened to us

15 Feb 22:15

Department Stores Are Basically the Reason Women Were Allowed in Public

Department Stores Are Basically the Reason Women Were Allowed in Public:

rafi-dangelo:

This was so unexpectedly informative and a delightful, brisk read to boot.

I’ve found that a lot of essays that take a look at women’s issues, especially around the turn of the 20th Century, are really talking about white women and just labeling it “Women” as if women of color were automatically included in these movements or shifting societal norms. There’s still a lot to learn from them and I still read them, but in the back of my mind there’s an undercurrent of “Black women weren’t allowed to…” or “this did not apply to Black women at all…”

So kudos to this author for dropping references to Black women with some historical anecdotes illustrating those differences. For such a short piece, it’s really well-rounded.

15 Feb 22:03

relevantspirits: a-singer-of-songs: avariea: madsciences: geek...

Cary

Almost as cute as a kitty



relevantspirits:

a-singer-of-songs:

avariea:

madsciences:

geekgirlsmash:

coolthingoftheday:

This is a plant from the genus Trachyandra, specifically known as a Crassula succulent. They are mostly found throughout southern Africa and Madagascar. 

I am reblogging so I can look into this more closely. Because 1. That looks kind of like polymer clay; and 2. Crassula is a genus of succulent, containing over 1400 species of plant, and I’m on mobile.

I can never tell if succulents I haven’t seen are real or not because all succulents look fake in the first place

Here to tell you HAPPILY cause i love these plants that they are in fact real BUT the actual name of the plant is Trachyandra tortilis! They also come in a flat leaf version with curled or wavy leaves!!

These are delightful i need twenty

@whimsywillow

15 Feb 22:02

enemafrostofficial: When your familiar and you are on point











enemafrostofficial:

When your familiar and you are on point

15 Feb 01:26

beeth0ven: my mom is a well intentioned yet nosy mom and she always wants to hook me up with...

beeth0ven:

my mom is a well intentioned yet nosy mom and she always wants to hook me up with people. it leads to some text message gems so the other day i went through and screenshotted the best. please enjoy.

image
image
image
image
15 Feb 01:24

positive-memes: the real princess

Cary

Hmmm, our girl should be ~15 soon.



positive-memes:

the real princess

14 Feb 23:19

gaspack: squeeful: optimysticals: kilomonster: lepetitdragon:...











gaspack:

squeeful:

optimysticals:

kilomonster:

lepetitdragon:

princeofbellehair:

ithelpstodream:

Hafþór Júlíus Björnsson has a tiny puppy named Asterix and it’s amazing.

whoever did this, thank you.

I am all about this…

What makes this even better is the photo of him with his brothers:

HOW THE FUCK IS HE THE SMALL ONE?!?!

@blackberryshawty