type flex

I convinced this Egyptian Straight Muscle Daddy to flex for me in the privacy of his bedroom.

He’s so manly and his amazing 🍆 is so big.. Like his body. He admitted that he got hard while flexing so we did another type of flexing on his bed..

Share and reblog his video to view his hidden 🍌.

💯% Prime Arab Beef 🏋🏻☑
💯% Muscle God 💪🏻☑
💯% Muscle Daddy 😘☑

New Music: Rae Sremmurd “No Type”. (Prod. Mike WiLL Made It)

After hearing this raging to this jam during their perfromance this past weekend at Modi’s Trillectro fest a CDQ to “No Type” was well needed. Rae Sremmurd look to carry over their buzz into the Fall with their new single, “No Type.” While Mike WiLL Made It provides the alley-oop production, Swae Lee and Slim Jimmy keep our attention and continue to deliver the quotables like “Bad bxtches is the only thing that I like.”.Rae Sremmurd’s upcoming #SremmLife EP, to be released later this year. Listen Below.


Life on the Road with Rae Sremmurd Photographer Myles Harris

To see more of Myles’ photos, check out @mylesxharris on Instagram. For more music stories, head to @music.

As the de facto photographer for Rae Sremmurd, one of rap’s youngest and most lit duos, it would be easy for Myles Harris (@mylesxharris) simply to focus on the bright lights of the shows and video sets he shoots. But he prefers capturing the little mundane moments––naps, casual backstage chats, trips to the mall––in between the glitz and girls that often characterize #raplife.

“It’s not what people typically see every day, especially from their favorite artists. It gives you a feeling of really knowing them,” the 21-year-old says of his work.

Growing up in North Carolina, Myles knew by the time he was 11 that he would be a filmmaker and photographer. After finishing high school, he planned to study film in Florida. Atlanta was only supposed to be a stopover to see his dad, but once there, he realized it was the ideal city in which to build his dreams. He enrolled in the shortest audio technology program he could find and by chance ended up studying under Jeron Ward, who was then producing in Outkast’s Stankonia Studios. Once Jeron spotted Myles’ talent, he let him tag along to his sessions.

Naturally gregarious, Myles easily made friends everywhere, from his next-door neighbors, the rap group Two-9, to Mike Will Made It, one of the city’s most successful producers. His ease in making connections might have greased the skids of his career, but at the end of the day, he says, skills are what set you apart.

“You definitely have to be good with words in this industry. Everybody’s trying to do what you’re trying to do,” he explains. “You can talk your way into all these great relationships but your talent is really what separates you.”

One of the acts that recognized Myles’ talent was Rae Sremmurd, two brothers on Mike Will’s label, EarDrummers, who were just beginning to bubble with their song “No Flex Zone.” They saw and liked the videos Myles had shot for Two-9, and shortly thereafter, Myles put his stuff in storage and took off with the guys on their yearlong world tour.

No matter how exciting, those many nights of performances eventually do blur together, hence Myles’ preference for photographing his subjects’ downtime. Plus, “I’m not one to be all hype about being around celebrities. I look at everybody as humans, regular people who are talented at what they do,” he says. In Myles’ eyes, rappers really are like you and me — with just a little bit more champagne.

––Rebecca Haithcoat for Instagram @music

Playlist 05/05/16

Bleib in der Schule // Trailerpark
Bonbon // Era Istrefi
Faded // Alan Walker
IDFC // Blackbear
Been you // Justin Bieber
Stitches // Shawn Mendes
Colors // Halsey
I’d love to change the World // Jetta Remix
Can’t remember to forget you // Shakira
Hold me down // Halsey
Shaded in // filous
This could be us // Rae Sremmurd
No Type // Rae Sremmurd
No Flex Zone // Rae Sremmurd
Don’t let me down // Illenium Remix
What I did for love // Michael Brun Remix
Pillowtalk // Nosleep Remix
Good for you // Selena Gomez
Young and Beautiful // Lana del Rey
Forget // Marina and the Diamonds
Tear in my Heart // Twenty one pilots
New Americana // Halsey
Bengalische Tiger // Materia
Lach mich tot // K.I.Z
Love Yourself // Justin Bieber
All time low // Jon Bellion
Wombass // Tiësto
Trostpreis // Alligatoah
What do you mean? // Justin Bieber
I walk the line // Halsey
Give me everything // Pitbull
XO // the Eden project
Strange Love // Halsey

If You Give A Mouse A Cookie...

My engagement with video games and game culture this week has been decidedly depressing and it has all had a common undercurrent: notions of consumer revolt or consumer rights that are fundamentally poisonous at worst or remarkably uninformed at best. I understand that such a statement can sound highly presumptive but actions and events have made it amazingly clear that enthusiasts are struggling with the idea of exactly what their money gives them control over. 

Let’s start with the most visible example: GamerGate’s harassment of Beamdog for the inclusion of a transgender character in Baldur’s Gate: Siege of Dragonspear. I have no particular intention of discussing the particulars of the character in question at the moment other than to say that interaction is notedly small, apparently optional, and that the character’s backstory is behind two dialog options. Hardly shoved in your face, as detractors claim. But let’s talk about those detractors in earnest. One of the things we are seeing is fans of the Baldur’s Gate series or the Forgotten Realms setting in general genuinely believing that their extended contact with the series or, more specifically, their long term financial patronage grants them not just mere insight to the setting greater than Beamdog’s but also greater authorship.

The idea, although never explicitly stated, is that a monetary investment imbues the consumer with enough ownership over a product that they have a right to dictate or demand creative changes to the game’s text. We saw this before with Mass Effect 3. In discussing issues of “censorship” with a commenter on my latest Giant Bomb article, I attempted to explain that I think consumers have a fundamentally flawed idea of what censorship is and what exact authority they have over a game. To the point: in a practical sense, the only force that can dictate content changes to a developer is a client or producer. It is their capital that pays for the game and therefore they have a true state in the product because it is a work that they have either commissioned directly or will weather the burden of distribution for. This wasn’t really understood, I think, by the commenter.

So, what does it mean to purchase a game? When you walk into Best Buy or order something off Amazon, what are you actually getting. The answer is that you are not getting much. You are getting a copy of the work. Imagine the purchase of a reproduction of the Mona Lisa. A fine, high quality framed canvas reproduction. You do not own the Mona Lisa, that much is obvious. You own a copy of the Mona Lisa. Purchasing this copy does not mean you own part of the Mona Lisa but it does give you ownership over the entire reproduction. Total ownership over the copy. You can’t demand that a change be made to the original. You do, however, have free reign to alter the copy. In video games, this is what game modifications are. They exist because you have ownership over the copy and may alter that. But do you own any part of the original?

In the vaguest sense, your copy of the game is partially imbued with the care, tears, and labor of the workers who made it. From the creative director of the game to the invisible factory floor tech, your copy of the game contains some type of indelible and ineffable part of the labor itself, which might be considered a facet of the game but because this quality is immutable, owning a portion of it or the fruits of the labor still does not grant ownership over the work. Furthermore, that very same labor places possession in the hands of the creators. 

Gamers don’t have any real conception of labor’s role in art. I’m not going to suggest that we take some extended time to educate consumers with particular theory. Rather, we can at least look at the root cause of this confusion and it comes back to a well worn but nonetheless true fact: games tell players that they are special and game marketing places a premium on the consumer in a way that other media simply does not. Coupled with a general lack of cultural curation and the end result is large swaths of gamers who truly believe they are the final arbiters of a game’s content on a scale that extends beyond their copy of the game. No one particularly pushes back against this idea. EA created the extended cut DLC for Mass Effect 3, Intel (for a time) took their advertisements off Gamasutra, Nintendo fired Alison Rapp. These concessions, made in the face of pressure from hate groups and terrorists, send a clear message that companies will bend if enough force is applied. Beamdog is bucking the trend by apparently expanding the role of the transgender character in question but the damage has already been done and may as well been made irreversible when Nintendo, a company that might as well be a symbol for the industry at large, bent knee to these cretins. And because no major authority figure or force has adequately pushed back against the sea of petulance, the children have never learned what it means to be told “no”. 

The issue gets compounded when there are actually arguments with actul merit for protesting or boycotting a developer. Because the most visible examples of success are hateful, efforts to take action begin to morph and twist. This week, the mobile game Final Fantasy Record Keeper had a Final Fantasy Tactics event. You could unlock some characters from the game to join your party and spend in game currency or separate currency bought with real money in order to have a random chance of getting character specific items. When in the hands of their owners, they granted special powers and abilities. One item was the Platinum Sword for Ramza. It’s special ability grants a massive speed and attack boost to the player’s party when used. Many players wanted this ability, as it makes content significantly easier. It’s a major ability in the metagame. So players spent their currencies to roll the dice and try to get it.

I’m not going to give the math here but it came to attention, from a significant data pool of player results, that the numbers for acquisition for this “relic banner” were lower than usual. With so many players pulling for the item, this rocketed Record Keeper to new heights in mobile stores. Like any FTP thing, it’s pretty shady and only further affected by the fact that the international version is not subject to the restrictions of the Japanese version. There, item chance percentages must be shown because the process is legally classified as gambling, with consumer protective measures in place. Internationally? Not as much. It’s not the biggest scandal but it was enough for people to write to the developer to express their displeasure. This is good, productive, and collective action against a corporation that was, to a degree, dishonest and manipulative.

On the same hand, hate and resentment are high; these are the conditions that give rise to vile tactics and brigading and while it hasn’t grown into something awful yet, the seeds are there and the potential exists. In an industry lacking proper contextualization for labor and one which has also responded to consumer fits with mollification, we are only one bit of progressive writing or a few percentages off expected math from majorly misplaced acts of “revolt” like GamerGate which are, in truth, fascist and operate with an appreciable and unchecked cult of violence. 

What’s the solution? I do not know entirely but part of it is something that many of us already have been waiting for: creators to stands firm against irascible consumers. Basically, we need people in the proper places to actually say something. It’s been years of functional silence broken only by smaller voices. Larger voices with greater privilege and power need to take the risk to say something instead of allowing the cultural sphere to fester with no comment. I have no notion of how this will happen or what it will take to actually get such a voice to speak up. Forgotten Realms creator Ed Greenwood made a statement regarding the controversy surrounding Baldur’s Gate. This provides a suitable example and in a more ideal world, would set a precedent of creators speaking out against mob campaigns but without some way to pair this with proper protection for the little guys as well, any real cultural pushback can’t really occur. I will, for the time, spare an extended rambling on the need for an organization (read: union) that isn’t as useless as the IGDA and SIGs that have any type of flex for the time being but we are continuing to see such empty gestures from these groups that it at least bear mentioning that stronger worker protections and more effective groups speaking out against harassment would constitute exactly the type of entity that could be paired with the voice of larger creators. 

In the end, we continue to stare as smaller devs like Beamdog hold the line without any real means wider means to address the underlying causes that bring the hordes. Until we begin to alter the way we communicate towards players and until we create actual safeguards against harassment (and see the safeguards backed by significant entities), each new week brings the kernel of a new storm. A grim prognostication with an even more grim question: “Just exactly what will it take for us to do anything that lasts?”.



2015 has been an impressive year for Hip-Hop, and we’re just halfway through. Even though this list will focus primarily on this year, it must be mentioned that J. Cole’s 2014 Forest Hills Drive helped to set in motion a tidal wave of good, quality releases from the most popular form of music in the world. 2014 was, quite honestly, a mediocre year for Hip-Hop after 2013 delivered one of the most star-studded musical years across the board. Thankfully, Cole crafted his best work and helped, along with Nicki Minaj and The Pinkprint, to usher in 2015 Hip-Hop. From the club anthems of newcomers Rae Sremmurd, to the hypnotizing sounds of A$AP Rocky, Hip-Hop in 2015 has been masterfully showcased across many spectrums. Since we have succesfully completed six months of this year with no sudden world-ending event, I countdown 2015’s Best Hip-Hop albums, so far. 


Artist: Tyler, the Creator

Release: April 13, 2015

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Cherry Bomb isn’t terrible, it’s just not memorable. When I heard of the impending release a few days before, I was excited. I’ve been following Tyler, the Creator’s career since he entered the game, for the most part. After stirring up some controversy with his outspoken personality, and his menacing voice, and delivered three solid albums over the course of three years, Tyler has created an impressive resume. Unfortunately, Cherry Bomb slips through the cracks, and is all over the place. With Wolf, Tyler showcased his growth as a writer, producer and arranger, but for some reason, Cherry Bomb doesn’t click with me, and I failed to see the cohesive nature of his previous efforts. 


Artist: Young Thug

Release: April 16, 2015

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Barter 6 was born out of controversy between Young Thug, and former Cash Money artist, Lil Wayne. Obviously there’s name resemblance to Wayne’s Tha Carter series, and thus, legal proceedings followed. So, in-line with Blood Gang practice of replacing “C” with “B” the Barter 6 was born. Young Thug’s third solo album is his definitive work, so far. The hits are consistent here. Thugger’s unique voice inflections and manipulations make him an attraction worthy of attention. The production from Wheezy on Barter 6 is smooth and laid-back. It’s not Thug at his most frenetic, but it adds some depth to his growing music library.


Artists: Rae Sremmurd

Release: January 6, 2015

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The debut album from the Mississippi Hip-Hop duo, Rae Sremmurd, is a ton of fun. The album was preced with four singles four of the biggest Hip-Hop singles of the past year, by the way) - No Type, No Flex Zone, Throw Some Mo with the Queen of Hip-Hop, Nicki Minaj, and This Could Be Us. Swae Lee and Slim Jimmy are two of the most charismatic rappers out right now. Maybe it’s their youthful exuberance, or maybe it’s they’re at the forefront of the Hip-Hop industry. Nonetheless, SremmLife is an exhilarating album that is still being played faithfully at clubs and parties, six months later. 


Artist: Meek Mill

Release: June 29, 2015

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After a stint in prison that delayed his second studio album, Meek Mill went back to the drawing board for Dreams Worth More Than Money. What we got is a solid follow-up to his debut album, Dreams and Nightmares, that enhances the story of Meek Mill, and sees the rapper more focused and driven as ever. Mill’s new-found clarity can be seen throughout this album. He’s dedicated to inspiring others, and telling his story as a source of motivation to those who struggle. With a larger than life cast of features from the likes of Drake, Future, Diddy, Rick Ross, and girlfriend Nicki Minaj, Mill still shines through as the centerpiece of the album. Dreams Worth More Than Money is the Meek Mill album that we’ve been waiting on since 2012’s Dreamchasers 2.


Artist: Lupe Fiasco

Release: January 20, 2015

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Lupe Fiasco’s Tetsuo & Youth is full of imagination. His best album since The Cool, Lupe has finally returned to form after the extreme disappointing of 2011’s Lasers, and the okay effort in the obnoxiously long-titled Food & Liquor II: The Great American Rap Album Pt. 1. Finally, it seems as if Lupe is free from the binds of his disputes with label, Atlantic Records. Tetsuo & Youth is daring, bold and creatively charged. I’m sure that this album surpassed many’s expectations after his previous, mediocre efforts. Luckily, Lupe has grown and matured into an individual who poured his rich talent and story into an album that exudes ingenuity. 


Artist: Big Sean

Release: February 24, 2015

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Dark Sky Paradise, Big Sean’s third outing, is hit best and most ambitious sound yet. Stormy production, visual and aesthetic progression, and a level of honesty not seen from the Detroit rapper, catapult Dark Sky Paradise to the top of Sean’s discography. Sean expands his lyricism on Paradise, and enlists a range of contributors that bring the album to life. The album is occasionally clumsy, but Sean’s boastful and triumphant achievement is his best work to date.


Artist: A$AP Rocky

Release: May 26, 2015

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AT.LONG.LAST.A$AP is a strong effort. A$AP Rocky has done a great job at propelling his image even further beyond the scope of traditional hip-hop. We need more artists like him. The ones with an aggressive taste for aesthetics who can be influential in multiple industries. The type of individual who will push the genre forward by challenging current trends, as well as developing creative ideas that will encompass an idea. Rocky is certainly an artist of the future, and ‘At Long Last’ does a good job at showing us what the future of hip-hop could sound like. 


Artist: Drake

Release: February 12, 2015

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Drake has elevated himself as one of Hip-Hop’s elite, major players. After three studio album releases since 2010, many fans were expecting his next announced project, Views from the 6, to be released in late 2015. However, in Beyonce fashion, Drake released If You’re Reading This It’s Too Late with no announcement, no press and no singles to back it. Initially planned as a mixtape for DatPiff before Cash Money Record intervened, If You’re Reading This It’s Too Late popped up on iTunes for sale, making this a legitimate fourth studio album for the Toronto rapper. For an album that was initially going to be released for free, it has come close to platinum status with nearly 1 million copies sold. Though no cohesive structure or theme exists, Drake’s fourth album contains some of 2015’s biggest hits. The first seven songs prime the rapper as today’s premiere Hip-Hop artist before dipping off into less-than-stellar tracks. Drake no longer aspires to be one of Hip-Hop’s greatest current artists, with the release of  If You’re Reading This It’s Too Late, he’s proven that he already is.


Artists: Donnie Trumpet & The Social Experiment

Release: May 29, 2015

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Shortly before midnight on May 28, a free album from Donnie Trumpet and the Social Experiment appeared on iTunes after being shared from Chicago MC, Chance the Rapper. Of course, when I saw this information spreading across social media, I wondered “Is this a new solo album from Chance?” Well, not quite, but it’s just as good as anyone could’ve hoped for. The new album, Surf, highlights trumpet player Donnie Trumpet (A.K.A. Nico Segal), and The Social Experiment, which is a group of musicians consisting of  Chance The Rapper, Peter Cottontale, Greg Landfair Jr., and Nate Fox. With an array of talented musicians a part of the collective, and perfectly selected guest appearances, Surf delivers a unique blend of jazz and hip-hop music into one, eclectic whole. We’re beginning to see the possibilities of the what jazz and hip-hop can sound like cohesively. The album is a joyous and celebratory effort that acts as a showcase of creative talent, instead of commercial appeal.


Artist: Kendrick Lamar

Release: March 16, 2015

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The question was this: What would Kendrick Lamar do to follow-up his platinum selling, multi-Grammy Award nominated, critically acclaimed major-label debut, Good Kid, m.A.A.d. City. Let’s be real - Kendrick’s major-label debut is a classic album for this generation, and one of the greatest pieces of music of the past decade. The fact of the matter is that To Pimp A Butterfly is comprehensive, dense, bold, intense and black. When I say black, I mean that it is one of the blackest pieces of music I’ve ever heard. Kendrick Lamar incorporates so many different African-American music styles such as hip-hop, funk, G-funk, spoken work, poetry, and jazz. At one moment, To Pimp A Butterfly is in Trouble Man, Marvin Gaye territory, and then abruptly shifts to a Spike Lee joint on record. Conversations with 2Pac, monologues from Dr. Dre, narratives from Snoop Dogg and funkadelics from George Clinton, To Pimp A Butterfly is a angry, self-reflecting and troubling. On first listen, the album will rock you. It’s like a punch to the face because it catches you completely off-guard. That’s a good thing. Kendrick wants you to feel uncomfortable. Discourse in our country for the pasty 2 years has been dominated by race and racism in America. Kendrick Lamar’s sophomore masterpiece is a mandatory listen that delivers on the promise that Public Enemy’s Chuck D stated years ago; hip-hop is the black CNN.