1. ultrafacts:




    Source For more facts, Follow Ultrafacts

    Why are the turtles crying

    to feed the butterflies

    Also, It is not because they are sad or being harassed. They actually have a gland that empties into their eyes that helps them get rid of too much salt that they collect living in the salty water. You can only see their tears when they are out of the water on land, and the tears also help keep sand out of the turtle’s eyes. The tears of the tortoises are an essential contribution of salt and minerals for the butterflies survival and the turtles work with them like a friendship & open their eyes for them to drink without hesitation.

  2. (Source: comuss, via vanssyndicate)

  4. red-lipstick:

    Edward Julius Detmold (1883-1957, UK) - The Fruits Of The Earth, 1911  Published in The International Studio Magazine Vol. XLII    Paintings: Watercolors via Plum Leaves aka Eoskins Flickr Photostream

    (Source: Flickr / eoskins)

  7. 2headedsnake:

    Chad Wys

    (Source: behance.net, via red-lipstick)

  8. pawnshopskateco:

    Pawns own Lacey Baker @leeroythegreat bs smith.

    (via vanssyndicate)

  9. Minimalist Posters » The Twelve Olympians

    (Source: wufanqt, via fyeahgreekmythology)

  10. believable-alibi:








    why aren’t these being reblogged more often?
    i rather see these than “keys in hand”


    Umm so since I’m stupid could someone kindly explain each step for me like step 3 am i head butting him in the face or the chest? 

    I think it depends on the height of the person, but I suppose the head is a more effective target. I hope this helps :)

    Step 1: Step back the moment he reaches for you.

    Step 2: Duck!

    Step 3: Head butt him in the chin. It’s very important that it is the chin and not the chest because it is much more uncomfortable and disorienting to have your teeth bang together especially if it cuts his tongue (which it will if it is in the way). More than likely height won’t matter. He will be leaning forward from the missed attempt at grabbing you.

    Step 4: Knee him in the balls.

    Step 5: When he doubles over, jab him on his back. I believe at the base of the neck just above the shoulder blades would be best. I’m not an expert, but this seems like the best place, imo.

    Step 6: Don’t lose contact. Bring your other hand over and slam your hands against the sides of his heads as hard as possible. Right on the ears is the best place; it is extremely disorienting if done correctly. Then take his head and bring it down on your knee as you bring your knee up. It’s very important that you avoid the nose because if you knee his nose it will definitely break and more than likely the bones will stab his brain killing him, so aim for his mouth instead.

    Step 7: Keep your knee up and bring your foot out to kick him over. Personally, I don’t like the image because it looks like she kicked him with her toes. You do not want to do that. Instead kick him with the ball or heel of your foot and put power behind it with a push.

    Step 8: He is on the ground. You could probably stop here and he would get the picture, but if you really want to…Your leg is still in the air from the kick. With all your force slam the edge of your your heel on his side. It will be more effective if you lower your body first by bending at the knee of the leg your weight is on. Done right, you can break a rib or two.

    reblogging again for that^

    Reblogging for the steps in the image and the explanation in the comments. I don’t so much like the explanation on the image proper, but I appreciate the thought behind it (here, have a self-defense thing, it could save you) and so I’m passing it on.

    My sister posted this on her FB, and my parents said it was offensive. SO FUCK THAT, I’M REBLOGGING THIS.

    (Source: think4yaself, via tattvamasi17)

  11. (Source: supradist, via vanssyndicate)

  12. onett199x:

    Album Artwork | Blue Note Records 1

    1.  Art Blakey & The Jazz Messengers - Moanin’ (1958)
    2.  Freddie Hubbard - Hub-Tones (1962)
    3.  Larry Young - Unity (1966)
    4.  Joe Henderson - Our Thing (1964)
    5.  Cannonball Adderley - Somethin’ Else (1958)
    6.  Herbie Hancock - Maiden Voyage (1965)
    7.  Donald Byrd - A New Perspective (1963)
    8.  Wayne Shorter - The Soothsayer (1979, recorded 1965)
    9.  Hank Mobley - Soul Station (1960)
    10.  Andrew Hill - Black Fire (1964)

    (via jazzrelatedstuff)

  13. jazzrelatedstuff:

    Dave Brubeck.

    (Source: lostintheworldreverie)

  14. nycartscene:

    Opens tonight, Sept 11, 6-8p:

     Jason Rhoades

    David Zwirner Gallery, 537 W20th St., NYC

    the show will be a reinstatement of the artist’s PeaRoeFoam project, which debuted at the gallery in 2002 (then located on Greene Street in SoHo) in the first of a trilogy of exhibitions that also brought it to Vienna and Liverpool the same year. A seminal work within Rhoades’s career, it has not been exhibited as a comprehensive presentation until now and many of the individual components are shown here for the first time since the original installations. PeaRoeFoam was Rhoades’s self-made recipe for a “brand new product and revolutionary new material” created from whole green peas, fish-bait style salmon eggs, and white virgin-beaded foam. When combined with non-toxic glue, they transform into a versatile, fast-drying, and ultimately hard material that Rhoades intended for both utilitarian as well as artistic use—made accessible in the form of do-it-yourself “kits,” complete with everything needed to make PeaRoeFoam, accompanied by the artist’s detailed, step-by-step instructions. - thru Oct 18

  15. nycartscene:

    Fall 2014 Editors Pick
    just opened:

     George Boorujy

    The Arsenal Gallery, Central Park, NYC
    (830 Fifth Avenue at 64th Street, Third Floor)

    a collection of George Boorujy’s dynamic large-scale paintings of North American animals with disarmingly human characteristics, as well as a series of his preliminary clay models and drawings. Boorujy’s hyperrealistic drawings recall the scientific detail of James John Audubon; however he takes liberties with the composition of his subjects, which adds a surrealistic element to his work. He begins his process by creating clay models to achieve slightly fantastic compositions unseen in nature, but that at the same time seem plausible. His extremely detailed portraits are rendered in ink on white paper backgrounds and can measure up to eleven feet long. The scale, meticulous craftsmanship and limited context encourage viewers to pause and see the animals as they never have before. - thru Oct 25

    Artist Talk: October 13, 6pm

    read our 2012 interview with George Boorujy HERE