• crowcrow:

    vmagazine:

    'Speckled' - model: Alice Ma - photographer: Alex Evans - hair & make-up: Natalie Ventola - Chloe Magazine Spring14

    • M.A.C. Acrylic Paint in Black Black & Pure White
    • M.A.C. Clear Lipgloss (shine)
    • M.A.C. Chromaline in Landscape Green (eyes)
    • M.A.C. Satin Lipstick in Mocha (lips)
    • M.A.C. Chromacake in Rich Purple (eyes)
    • M.A.C. lip mix in Orange (lips)
    • M.A.C. Fluidline in Blacktrack (brows)

    these looks are SO goooood

    (Source: vmagazine, via seymourandsylvia)

  • Mark Z. Danielewski, House of Leaves (via easymomentsandobsession)

    (Source: likeafieldmouse, via booklover)

  • "Passion has little to do with euphoria and everything to do with patience. It is not about feeling good. It is about endurance. Like patience, passion comes from the same Latin root: pati. It does not mean to flow with exuberance. It means to suffer."
  • artchipel:

    Bernhard Lang (Germany) - Aerial Views Adria

    Germany-based photographer Bernhard Lang’s obsession with aerial photography began after realizing that there actually wasn’t that much of it out there—at least, not much that took the vertical perspective he liked. He was drawn to the occasional top-down photos he came across in magazines, and also thought about photography every time he boarded a plane to fly somewhere. “Looking down out of the window, I was fascinated by seeing the world—the graphic structures—from above,” he says. Eventually, Lang found himself strapped outside of an ultralight plane, hanging thousands of feet above the ground. “The first time it was a bit scary,” he says. “But at the moment I was so concentrated on looking through the camera I wasn’t scared anymore.” Like the filmmakers, Lang hopes that showing the world from a different scale might change how people see the everyday world. (src. Co.Exist) © All images courtesy of the artist

    [more Bernhard Lang | via photojojo]

  • Isaiah Henkel (via wolf-cub)

    (Source: onlinecounsellingcollege, via nat-fab)

  • "Don’t ever feel bad for making a decision that upsets other people. You are not responsible for their happiness. You are responsible for your happiness."
  • aeternawicked:

    atane:

    zuky:

    nezua:

    Flappers shaming Miley Cyrus.

    Oddly enough we could say that Miley Cyrus is following solidly in the appropriative footsteps of white flappers, who in the 1920s grabbed national attention and stirred alarmism concerning the end of civilization because they partied to Black music, wore their hair short like Josephine Baker (who fled US racism to become a superstar in Europe), and imitated dance moves from Baker and other Black dancers. The famously flapperesque Charleston was lifted from the African American dance called the Juba, which had West African roots and was danced in secret in the South and the Caribbean. The dance sped up when it reached Harlem, giving birth to both tap dancing and the Broadway hit called The Charleston, which spread like wildfire from there. White people didn’t sway their hips this scandalously prior to that era, making flappers roughly equivalent to white twerkers of the Jazz Age.

    This is 100% true. The period from the jazz age to the beat generation, comparatively speaking was the height of cultural appropriation of black art. The beat generation used lingo popularized by Lester Young. They then appropriated the style, dress, and lingo of bebop musicians like Charlie Parker and Dizzy Gillespie, down to the beret, glasses, and soul patch. Bebop musicians, Parker and Gillespie in particular, were the blueprint of their image. Norman Mailer wrote an essay titled “The White Negro" that tackles this phenomenon. I’m no fan of Norman Mailer, but at least he admitted that white people were stealing from blacks. He wrote it in 1957.

    With regards to the flappers, apart from Josephine Baker, they also liberally borrowed from black vaudeville performers. They would copy dance moves from black performers, and then introduce it as their own. Many dances attributed to whites are from black vaudeville performers who were forced to perform on the chitlin’ circuit because of segregation and Jim Crow laws.

    It really is astonishing how nothing has changed in this regard. For example, people to this day still call Benny Goodman “the king of swing”, when what he did was procure charts for arrangements from Fletcher Henderson, a black man. Goodman’s biggest hits were from Henderson. It’s amazing how much credit Goodman gets for another man’s work. Of course Goodman became “the king of swing”, while Fletcher Henderson remains a footnote in history. How a white man becomes the king of something innovated by blacks is astounding. Benny Goodman is called “the king of swing”. Paul Whiteman is called “the king of jazz”. Elvis Presley is called “the king of rock n roll”. Is Eminem the king of rap? What about Justin Timberlake and Robin Thicke with r&b? Miley is soon on her way to become “the queen of twerking”.

    Anyway, apart from getting his charts from Fletcher Henderson, Benny Goodman got his ass handed to him by Chick Webb at the Savoy Ballroom when they had a battle of the bands. Goodman is often noted as being one of the few white men in the segregation era to have black men in his band, and the narrative is typically presented as if he did it out of benevolence. He did it because there was no way to get around the fact that swing music was the domain of black folks, and he poached the best black players he could find to bolster his band, and black musicians went with him because as a white man, he was able to pay them more than black bandleaders, and they wouldn’t have to deal with indignity while traveling. Many hotels refused black bands, so they often had to sleep in cars, bus terminals, or crash at the homes of hospitable blacks. A big portion of Duke Ellington’s money went towards renting out train cars and making sure his orchestra had a place to sleep while on the road because hotels often turned them down because they were black. These were issues Goodman wasn’t going to face. Black musicians certainly didn’t go with him because he was the best. Goodman even later hired Henderson to arrange and play in his band. He wasn’t doing it because he loved black people. Black people were the ones creating and innovating. Where else would he get the best charts and arrangements? Now that the smoke has cleared and the dust has settled, Goodman gets all the credit. Funny how that works.

    This stuff has been going on for a long time. Miley is the 2013 version. Twerking has been around for a long time, but Miley convulses on national tv and all of a sudden, dictionary definitions of twerking are made. Definitions complete with no mention of black people, like all this happened in a vacuum. It’s history repeating itself over and over again. I see the same thing happening with afrobeat music.

    1. This INCREDIBLY important. This should be talking in fucking American history in high school, because I remember my fucking history teacher talking about flappers and the change in music at the time, but no one EVER talked about the racial issues at play and they are SO IMPORTANT.
    2. Miley goddamn Cyrus will become the queen of twerking of Nicki Minaj’s dead fucking body.

    (Source: melanskyyworld, via karnythia)

  • nemfrog:

    Fig. 29. Le petit carré precédént vue au télescope. Les Merveilles Célestes. 1881.

    (via upandoverheads)

  • Helen OyeyemiThe Opposite House (via vintageanchorbooks)
  • "If you should find yourself in a place that is indifferent to you and there is someone there that your spirit stretches to, then that person is kin."
  • Anaïs Nin (via hamhammyham)

    (Source: blazeberg, via ambrosii-a)

  • "I am lonely, yet not everybody will do. I don’t know why, some people fill the gaps and others emphasize my loneliness."
  • "it’s about who you miss at 2 in the afternoon when you’re busy, not 2 in the morning when you’re lonely."