Video wird geladen...

Video konnte nicht geladen werden

Beim Laden dieses Videos ist ein Problem aufgetreten. Dies könnte an einem vorübergehenden Netzwerkproblem liegen oder das Video ist möglicherweise nicht verfügbar.

Homesickness.

Yayat Hidayat.

11,539 subscribers

55,629 Aufrufe • vor 2 Jahren •via X (Twitter)

Anya Rossi• Live Now

Private livecam show

10 Kommentare

Profilbild von mwahh :*

mwahh :*vor 2 Jahren

Video yg pertama sampe inget dialognya : "kaga cewe, kaga warisan abis dibabat. Biarin, kalo meninggal kaga gua panggul ke kurung batang. Aki aki........

Profilbild von 👤

👤vor 2 Jahren

Kisahe wong tulus

Profilbild von Wong Koq Unik Unik Yo

Wong Koq Unik Unik Yovor 2 Jahren

Liat nih @keaneofficial lagu lu dibuat vc gini n tetep bagus

Profilbild von um_um_mesum

um_um_mesumvor 2 Jahren

@_sepiaaaa

Profilbild von fuckshit

fuckshitvor 2 Jahren

bang request Mom jeans yang death cup🙏

Profilbild von Yayat Hidayat.

Yayat Hidayat.vor 2 Jahren

Sabar mas, banyak yg req

Profilbild von Son Of Marym

Son Of Marymvor 2 Jahren

Mandra was right, semua nyakitin

Profilbild von Bolaemon

Bolaemonvor 2 Jahren

Realita ini pokoknya prinsip prinsip!

Profilbild von bayu wicak

bayu wicakvor 2 Jahren

Walaupun ketutup musik nya, udah pasti pada Tau momen mandra treak 'nyakitiiiiiiin semua'

Profilbild von Sini Peluk

Sini Pelukvor 2 Jahren

Prinsip!

Ähnliche Videos

Being from London is to spend one's life in a state of homesickness despite being at home.

Being from London is to spend one's life in a state of homesickness despite being at home.

Vinnie Sullivan

63,069 Aufrufe • vor 8 Monaten

Being from London is to spend one's life in a state of homesickness despite being at home.

Being from London is to spend one's life in a state of homesickness despite being at home.

Vinnie Sullivan

29,088 Aufrufe • vor 3 Monaten

Studying abroad can bring unexpected challenges, from culture shock to homesickness. Experts say planning for emotional ups and downs helps students make the most of their experience.

Studying abroad can bring unexpected challenges, from culture shock to homesickness. Experts say planning for emotional ups and downs helps students make the most of their experience.

The Associated Press

59,305 Aufrufe • vor 11 Monaten

Meghan Markle is said to be considering abandoning her new life in Britain for three reasons – intense homesickness, hostility from locals and painful memories of her previous experience within the royal family.

Meghan Markle is said to be considering abandoning her new life in Britain for three reasons – intense homesickness, hostility from locals and painful memories of her previous experience within the royal family.

Radar Online

110,419 Aufrufe • vor 22 Tagen

Prince Harry has got people worried after breaking down at a public meeting. But is it homesickness or relationship concerns that are behind the viral moment? Kevin O'Sullivan | Emma Kenny

Prince Harry has got people worried after breaking down at a public meeting. But is it homesickness or relationship concerns that are behind the viral moment? Kevin O'Sullivan | Emma Kenny

Talk

18,044 Aufrufe • vor 9 Monaten

"Wichita Lineman" (1968) The singer reportedly cried when he first heard the demo, moved by its loneliness and homesickness. The song went gold. Bob Dylan once called it "the greatest song ever written." Name the singer.

"Wichita Lineman" (1968) The singer reportedly cried when he first heard the demo, moved by its loneliness and homesickness. The song went gold. Bob Dylan once called it "the greatest song ever written." Name the singer.

🇺🇸Hot Pepper

153,789 Aufrufe • vor 7 Monaten

Why has Taiwan always been part of China? How do the ups and downs of cross-Straits relations affect the fate of individuals? Liu Xin takes you into the untold stories of Taiwan region and empathizes with their nostalgia and homesickness.#HelloMainland

Why has Taiwan always been part of China? How do the ups and downs of cross-Straits relations affect the fate of individuals? Liu Xin takes you into the untold stories of Taiwan region and empathizes with their nostalgia and homesickness.#HelloMainland

Liu Xin刘欣

72,514 Aufrufe • vor 2 Jahren

☁️🎶 At the Greater Bay Area Film Concert 2025,when 🌟 Zhou Shen performed “Clouds of My Hometown”, his ethereal voice painted a vivid picture of longing and belonging. By Wang Ziyuan / China Youth Daily Source: China Movie Channel #GreaterBayArea #FilmConcert2025 #BayAreaRisingMoon #ZhouShen #CloudsOfMyHometown #MusicMagic #LivePerformance #Homesickness #EmotionalJourney #CulturalConnection #BayAreaVibes #MusicThatHeals

☁️🎶 At the Greater Bay Area Film Concert 2025,when 🌟 Zhou Shen performed “Clouds of My Hometown”, his ethereal voice painted a vivid picture of longing and belonging. By Wang Ziyuan / China Youth Daily Source: China Movie Channel #GreaterBayArea #FilmConcert2025 #BayAreaRisingMoon #ZhouShen #CloudsOfMyHometown #MusicMagic #LivePerformance #Homesickness #EmotionalJourney #CulturalConnection #BayAreaVibes #MusicThatHeals

China Youth Daily

186,550 Aufrufe • vor 1 Jahr

"Alabama Pines" is a critically acclaimed song by singer-songwriter Jason Isbell and the 400 Unit, released on their 2011 album Here We Rest. Widely regarded as one of Isbell's finest narrative pieces, the track won Song of the Year at the 2012 Americana Honors & Awards. The song captures a powerful sense of rootless desperation, homesickness, and isolation. It follows a struggling narrator stuck in a run-down room, dreaming of the familiar landscapes and specific geography of North Alabama. #jasonisbell #alabamapines #bama #south #jasonisbellandthe400unit

"Alabama Pines" is a critically acclaimed song by singer-songwriter Jason Isbell and the 400 Unit, released on their 2011 album Here We Rest. Widely regarded as one of Isbell's finest narrative pieces, the track won Song of the Year at the 2012 Americana Honors & Awards. The song captures a powerful sense of rootless desperation, homesickness, and isolation. It follows a struggling narrator stuck in a run-down room, dreaming of the familiar landscapes and specific geography of North Alabama. #jasonisbell #alabamapines #bama #south #jasonisbellandthe400unit

Music Edits

87,100 Aufrufe • vor 2 Monaten

California by Joni Mitchell, released in 1971, found new life when Amanda Seyfried performed it on The Tonight Show with Jimmy Fallon. Sitting with a dulcimer in her hands, she delivered the song with a gentle confidence that immediately caught the room off guard. Her voice was soft but assured, carrying the melody with ease as she played, and you could see Fallon’s genuine surprise as the performance unfolded. What felt like a casual late-night moment quietly turned into something special. Originally written during Joni Mitchell’s travels through Europe and released on the album Blue, California is a song about homesickness, reflection, and the pull of belonging. Its conversational lyrics and vivid imagery capture the tension between freedom and the desire to return home. Hearing it reinterpreted decades later, with the same honesty and simplicity, reminded everyone why the song remains so emotionally resonant. That’s why this performance still feels so memorable.

California by Joni Mitchell, released in 1971, found new life when Amanda Seyfried performed it on The Tonight Show with Jimmy Fallon. Sitting with a dulcimer in her hands, she delivered the song with a gentle confidence that immediately caught the room off guard. Her voice was soft but assured, carrying the melody with ease as she played, and you could see Fallon’s genuine surprise as the performance unfolded. What felt like a casual late-night moment quietly turned into something special. Originally written during Joni Mitchell’s travels through Europe and released on the album Blue, California is a song about homesickness, reflection, and the pull of belonging. Its conversational lyrics and vivid imagery capture the tension between freedom and the desire to return home. Hearing it reinterpreted decades later, with the same honesty and simplicity, reminded everyone why the song remains so emotionally resonant. That’s why this performance still feels so memorable.

Love Classical Music and Movies 🎺🎻💖🎥🎬

37,578 Aufrufe • vor 9 Monaten

Polish Migrant in the UK: Do Other Slavs Feel the Same Abroad? A Confession That Resonates Across Eastern Europe A short video recorded inside a parked car has struck a deep nerve among Poles living abroad — and perhaps far beyond Poland itself. In the clip, a Polish migrant in the United Kingdom speaks openly about something rarely discussed without shame: despite having work, stability and family life in the West, he feels increasingly empty. He says he misses Poland more and more. Not the money. Not the career. But the feeling of being “at home.” “I thought when I reached a certain level — a good job, security, a normal life — everything would finally feel right,” he explains. “But it doesn’t. I would rather have any job back in my own country than live like this abroad.” His words are simple, but they echo a quiet truth shared by millions of Slavs who left their homelands for Britain, Germany, Scandinavia and Western Europe in search of opportunity. Economic migration solved many material problems — but created a new, invisible one: cultural and emotional exile. This is not a story of failure. The man is employed. His wife works. He is safe. Yet he admits something essential is missing. A language that feels natural. People who think like him. Streets filled with memory instead of anonymity. A sense of belonging that cannot be transferred across borders. Pages such as Spontaniczne Podróże, followed by tens of thousands, are now full of similar testimonies: Poles in the UK, Ireland, Germany and Norway describing homesickness, exhaustion and a growing desire to return. Many say the same thing — they underestimated what it means to live permanently as a foreigner. For years, migration from Eastern Europe was framed as pure progress. Leaving meant success; staying meant stagnation. But this video challenges that narrative. A new generation of migrants is beginning to ask a harder question: what is prosperity worth if it costs identity? And the story does not stop with Poland. Do Slovaks in Austria feel the same? Do Croats in Germany feel this loss of belonging? Do Serbs in Sweden, Czechs in Britain, Bulgarians in Spain or Macedonians in Italy quietly carry the same longing? Across the Slavic world, millions live between two realities: economically integrated in the West, emotionally tied to the East. They send money home, visit once or twice a year, and slowly realize they belong fully to neither place. This video does not speak about politics. It speaks about something more personal — the human price of migration that statistics never measure: raising children far from one’s culture, speaking one’s mother tongue only at home, watching one’s homeland change from a distance. It is not only a Polish story. It is a Slavic one. A generation that left to survive is now questioning whether survival was enough. The question now belongs to all of us: Do other Slavs abroad feel the same as this Polish migrant in the UK — or are we only beginning to admit it out loud?

Polish Migrant in the UK: Do Other Slavs Feel the Same Abroad? A Confession That Resonates Across Eastern Europe A short video recorded inside a parked car has struck a deep nerve among Poles living abroad — and perhaps far beyond Poland itself. In the clip, a Polish migrant in the United Kingdom speaks openly about something rarely discussed without shame: despite having work, stability and family life in the West, he feels increasingly empty. He says he misses Poland more and more. Not the money. Not the career. But the feeling of being “at home.” “I thought when I reached a certain level — a good job, security, a normal life — everything would finally feel right,” he explains. “But it doesn’t. I would rather have any job back in my own country than live like this abroad.” His words are simple, but they echo a quiet truth shared by millions of Slavs who left their homelands for Britain, Germany, Scandinavia and Western Europe in search of opportunity. Economic migration solved many material problems — but created a new, invisible one: cultural and emotional exile. This is not a story of failure. The man is employed. His wife works. He is safe. Yet he admits something essential is missing. A language that feels natural. People who think like him. Streets filled with memory instead of anonymity. A sense of belonging that cannot be transferred across borders. Pages such as Spontaniczne Podróże, followed by tens of thousands, are now full of similar testimonies: Poles in the UK, Ireland, Germany and Norway describing homesickness, exhaustion and a growing desire to return. Many say the same thing — they underestimated what it means to live permanently as a foreigner. For years, migration from Eastern Europe was framed as pure progress. Leaving meant success; staying meant stagnation. But this video challenges that narrative. A new generation of migrants is beginning to ask a harder question: what is prosperity worth if it costs identity? And the story does not stop with Poland. Do Slovaks in Austria feel the same? Do Croats in Germany feel this loss of belonging? Do Serbs in Sweden, Czechs in Britain, Bulgarians in Spain or Macedonians in Italy quietly carry the same longing? Across the Slavic world, millions live between two realities: economically integrated in the West, emotionally tied to the East. They send money home, visit once or twice a year, and slowly realize they belong fully to neither place. This video does not speak about politics. It speaks about something more personal — the human price of migration that statistics never measure: raising children far from one’s culture, speaking one’s mother tongue only at home, watching one’s homeland change from a distance. It is not only a Polish story. It is a Slavic one. A generation that left to survive is now questioning whether survival was enough. The question now belongs to all of us: Do other Slavs abroad feel the same as this Polish migrant in the UK — or are we only beginning to admit it out loud?

Slavic Networks

69,775 Aufrufe • vor 9 Monaten

Akira Kurosawa on his experience watching 'Solaris' (1972) & drinking vodka with Andrei Tarkovsky in Moscow: "I met Tarkovsky for the first time when I attended my welcome luncheon at the Mosfilm during my first visit to Soviet Russia. He was small, thin, looked a little frail, and at the same time exceptionally intelligent, and unusually shrewd and sensitive. I thought he somehow resembled Toru Takemitsu, but I don’t know why. Then he excused himself saying, “I still have work to do,” and disappeared, and after a while I heard such a big explosion as to make all the glass windows of the dining hall tremble hard. Seeing me taken aback, the boss of the Mosfilm said with a meaningful smile: “You know another world war does not break out. Tarkovsky just launched a rocket. This work with Tarkovsky, however, has proved a Great War for me.” That was the way I knew Tarkovsky was shooting 'Solaris' (1972). After the luncheon party, I visited his set for Solaris. There it was. I saw a burnt down rocket was there at the corner of the space station set. I am sorry I forgot to ask him as to how he had shot the launching of the rocket on the set. The set of the satellite base was beautifully made at a huge cost, for it was all made up of thick duralumin. It glittered in its cold metallic silver light, and I found light rays of red, or blue or green delicately winking or waving from electric light bulbs buried in the gagues on the equipment lined up in there. And above on the ceiling of the corridor ran two duralumin rails from which hanged a small wheel of a camera which could move around freely inside the satellite base. Tarkovsky guided me around the set, explaining to me as cheerfully as a young boy who is given a golden opportunity to show someone his favorite toybox. Bondarchuk, who came with me, asked him about the cost of the set, and left his eyes wide open when Tarkovsky answered it. The cost was so huge: about six hundred million yen as to make Bondarchuk, who directed that grand spectacle of a movie “War and Peace,” agape in wonder. Now I came to fully realize why the boss of the Mosfilm said it was “a Great War for me.” But it takes a huge talent and effort to spend such a huge cost. Thinking “This is a tremendous task” I closely gazed at his back when he was leading me around the set in enthusiasm. Concerning Solaris, I find many people complaining that it is too long, but I do not think so. They especially find too lengthy the description of nature in the introductory scenes, but these layers of memory of farewell to this earthly nature submerge themselves deep below the bottom of the story after the main character has been sent in a rocket into the satellite station base in the universe, and they almost torture the soul of the viewer like a kind of irresistible nostalghia toward mother earth nature, which resembles homesickness. Without the presence of beautiful nature sequences on earth as a long introduction, you could not make the audience directly conceive the sense of having-no-way-out harboured by the people “jailed” inside the satellite base. I saw this film late at night in a preview room in Moscow for the first time, and soon I felt my heart aching in agony with a longing to returning to the earth as quickly as possible. Marvellous progress in science we have been enjoying, but where will it lead humanity after all? Sheer fearful emotion this film succeeds in conjuring up in our soul. Without it, a science fiction movie would be nothing more than a petty fancy. These thoughts came and went while I was gazing at the screen. Tarkovsky was together with me then. He was at the corner of the studio. When the film was over, he stood up, looking at me as if he felt timid. I said to him, “Very good. It makes me feel real fear.” Tarkovsky smiled shyly, but happily. And we toasted vodka at the restaurant in the Film Institute. Tarkovsky, who didn’t drink usually, drank a lot of vodka, and went so far as to turn off the speaker from which music had floated into the restaurant, and began to sing the theme of samurai from Seven Samurai at the top of his voice. As if to rival him, I joined in. For I was at that moment very happy to find myself living on Earth. Solaris makes a viewer feel this, and even this single fact shows us that Solaris is no ordinary SF film. It truly somehow provokes pure horror in our soul. And it is under the total grip of the deep insights of Tarkovsky. There must be many, many things still unknown to humanity in this world: the abyss of the cosmos which a man had to look into, strange visitors in the satellite base, time running in reverse, from death to life, strangely moving sense of levitation, his home which is in the mind of the main character in the satellite station is wet and soaked with water. It seems to me to be sweat and tears that in his heartbreaking agony he squeezed out of his whole being. And what makes us shudder is the shot of the location of Akasakamitsuke, Tokyo, Japan. By a skillful use of mirrors, he turned flows of head lights and tail lamps of cars, multiplied and amplified, into a vintage image of the future city. Every shot of Solaris bears witness to the almost dazzling talents inherent in Tarkovsky. Many people grumble that Tarkovsky’s films are difficult, but I don’t think so. His films just show how extraordinarily sensitive Tarkovsky is. He made a film titled 'Mirror' (1975) after Solaris. Mirror deals with his cherished memories in his childhood, and many people say again it is disturbingly difficult. Yes, at a glance, it seems to have no rational development in its storytelling. But we have to remember: it is impossible that in our soul our childhood memories should arrange themselves in a static, logical sequence. A strange train of fragments of early memory images shattered and broken can bring about the poetry in our infancy. Once you are convinced of its truthfulness, you may find Mirror the easiest film to understand. But Tarkovsky remains silent, without saying things like that at all. His very attitude makes me believe that he has wonderful potentials in his future. There can be no bright future for those who are ready to explain everything about their own film." ("Akira Kurosawa on watching ‘Solaris’ with Andrei Tarkovsky", Cinephilia & Beyond)

Akira Kurosawa on his experience watching 'Solaris' (1972) & drinking vodka with Andrei Tarkovsky in Moscow: "I met Tarkovsky for the first time when I attended my welcome luncheon at the Mosfilm during my first visit to Soviet Russia. He was small, thin, looked a little frail, and at the same time exceptionally intelligent, and unusually shrewd and sensitive. I thought he somehow resembled Toru Takemitsu, but I don’t know why. Then he excused himself saying, “I still have work to do,” and disappeared, and after a while I heard such a big explosion as to make all the glass windows of the dining hall tremble hard. Seeing me taken aback, the boss of the Mosfilm said with a meaningful smile: “You know another world war does not break out. Tarkovsky just launched a rocket. This work with Tarkovsky, however, has proved a Great War for me.” That was the way I knew Tarkovsky was shooting 'Solaris' (1972). After the luncheon party, I visited his set for Solaris. There it was. I saw a burnt down rocket was there at the corner of the space station set. I am sorry I forgot to ask him as to how he had shot the launching of the rocket on the set. The set of the satellite base was beautifully made at a huge cost, for it was all made up of thick duralumin. It glittered in its cold metallic silver light, and I found light rays of red, or blue or green delicately winking or waving from electric light bulbs buried in the gagues on the equipment lined up in there. And above on the ceiling of the corridor ran two duralumin rails from which hanged a small wheel of a camera which could move around freely inside the satellite base. Tarkovsky guided me around the set, explaining to me as cheerfully as a young boy who is given a golden opportunity to show someone his favorite toybox. Bondarchuk, who came with me, asked him about the cost of the set, and left his eyes wide open when Tarkovsky answered it. The cost was so huge: about six hundred million yen as to make Bondarchuk, who directed that grand spectacle of a movie “War and Peace,” agape in wonder. Now I came to fully realize why the boss of the Mosfilm said it was “a Great War for me.” But it takes a huge talent and effort to spend such a huge cost. Thinking “This is a tremendous task” I closely gazed at his back when he was leading me around the set in enthusiasm. Concerning Solaris, I find many people complaining that it is too long, but I do not think so. They especially find too lengthy the description of nature in the introductory scenes, but these layers of memory of farewell to this earthly nature submerge themselves deep below the bottom of the story after the main character has been sent in a rocket into the satellite station base in the universe, and they almost torture the soul of the viewer like a kind of irresistible nostalghia toward mother earth nature, which resembles homesickness. Without the presence of beautiful nature sequences on earth as a long introduction, you could not make the audience directly conceive the sense of having-no-way-out harboured by the people “jailed” inside the satellite base. I saw this film late at night in a preview room in Moscow for the first time, and soon I felt my heart aching in agony with a longing to returning to the earth as quickly as possible. Marvellous progress in science we have been enjoying, but where will it lead humanity after all? Sheer fearful emotion this film succeeds in conjuring up in our soul. Without it, a science fiction movie would be nothing more than a petty fancy. These thoughts came and went while I was gazing at the screen. Tarkovsky was together with me then. He was at the corner of the studio. When the film was over, he stood up, looking at me as if he felt timid. I said to him, “Very good. It makes me feel real fear.” Tarkovsky smiled shyly, but happily. And we toasted vodka at the restaurant in the Film Institute. Tarkovsky, who didn’t drink usually, drank a lot of vodka, and went so far as to turn off the speaker from which music had floated into the restaurant, and began to sing the theme of samurai from Seven Samurai at the top of his voice. As if to rival him, I joined in. For I was at that moment very happy to find myself living on Earth. Solaris makes a viewer feel this, and even this single fact shows us that Solaris is no ordinary SF film. It truly somehow provokes pure horror in our soul. And it is under the total grip of the deep insights of Tarkovsky. There must be many, many things still unknown to humanity in this world: the abyss of the cosmos which a man had to look into, strange visitors in the satellite base, time running in reverse, from death to life, strangely moving sense of levitation, his home which is in the mind of the main character in the satellite station is wet and soaked with water. It seems to me to be sweat and tears that in his heartbreaking agony he squeezed out of his whole being. And what makes us shudder is the shot of the location of Akasakamitsuke, Tokyo, Japan. By a skillful use of mirrors, he turned flows of head lights and tail lamps of cars, multiplied and amplified, into a vintage image of the future city. Every shot of Solaris bears witness to the almost dazzling talents inherent in Tarkovsky. Many people grumble that Tarkovsky’s films are difficult, but I don’t think so. His films just show how extraordinarily sensitive Tarkovsky is. He made a film titled 'Mirror' (1975) after Solaris. Mirror deals with his cherished memories in his childhood, and many people say again it is disturbingly difficult. Yes, at a glance, it seems to have no rational development in its storytelling. But we have to remember: it is impossible that in our soul our childhood memories should arrange themselves in a static, logical sequence. A strange train of fragments of early memory images shattered and broken can bring about the poetry in our infancy. Once you are convinced of its truthfulness, you may find Mirror the easiest film to understand. But Tarkovsky remains silent, without saying things like that at all. His very attitude makes me believe that he has wonderful potentials in his future. There can be no bright future for those who are ready to explain everything about their own film." ("Akira Kurosawa on watching ‘Solaris’ with Andrei Tarkovsky", Cinephilia & Beyond)

DepressedBergman

198,415 Aufrufe • vor 11 Monaten

Bro really just one of us

Bro really just one of us

OnThatNote

330,797 Aufrufe • vor 2 Monaten

Purj gets heated at Swooty and tells him to wake the f**k up: “You guys are saying you don’t know the bombs down like what does that even mean” *Swooty laughing* “That’s not even funny bro what.. you don’t have to say nothing, it’s not a laughing matter” 😳💀

Purj gets heated at Swooty and tells him to wake the f**k up: “You guys are saying you don’t know the bombs down like what does that even mean” Swooty laughing “That’s not even funny bro what.. you don’t have to say nothing, it’s not a laughing matter” 😳💀

CoD Clipped

236,996 Aufrufe • vor 16 Tagen

Hands down the best Youtube short ever made. What an incredible edit! 👏

Hands down the best Youtube short ever made. What an incredible edit! 👏

Zatchfcb

5,649,296 Aufrufe • vor 1 Monat

@MinaKimes shares why she likes the Kirk Cousins trade for the Vikings ✍️

@MinaKimes shares why she likes the Kirk Cousins trade for the Vikings ✍️

SportsCenter

342,326 Aufrufe • vor 1 Tag

Thoughts on Cousins to Minnesota

Thoughts on Cousins to Minnesota

Dan Orlovsky

258,960 Aufrufe • vor 1 Tag

"I was surprised [the Raiders] didn't get more for him, quite honestly. I was shocked when I saw what they traded him for." Packers head coach Matt LaFleur on the Raiders trading QB Kirk Cousins to the Vikings.

"I was surprised [the Raiders] didn't get more for him, quite honestly. I was shocked when I saw what they traded him for." Packers head coach Matt LaFleur on the Raiders trading QB Kirk Cousins to the Vikings.

NFL on ESPN

388,338 Aufrufe • vor 5 Stunden

Stella Andrews exposes why racists are actually just deeply obsessed and jealous of Black men "Some people who are racist are into this because they are so obsessed with black men and they wish they could be them so badly" "they are so obsessed with black men and they wish they could be them so badly" "they have built this like hate, because they want that, they're bigger, they're stronger, they last longer" "I see this in front of me, I'm like, oh, you're the ones sitting there racist" "truly, truly like jealous" Homophobia: "it's like super homophobic" "A lot of the times people who had like the slave owners would have the slaves fuck the wives"

Sensitive content

Stella Andrews exposes why racists are actually just deeply obsessed and jealous of Black men "Some people who are racist are into this because they are so obsessed with black men and they wish they could be them so badly" "they are so obsessed with black men and they wish they could be them so badly" "they have built this like hate, because they want that, they're bigger, they're stronger, they last longer" "I see this in front of me, I'm like, oh, you're the ones sitting there racist" "truly, truly like jealous" Homophobia: "it's like super homophobic" "A lot of the times people who had like the slave owners would have the slaves fuck the wives"

Deborah

48,538 Aufrufe • vor 9 Tagen