Stella Stevens / Playboy’s Playmate of the Month, January 1960 / photos by Frank Schallwig.

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Stella Stevens / Playboy’s Playmate of the Month, January 1960 / photos by Frank Schallwig.
Marilyn Monroe / George Cukor’s unfinished Something’s Got to Give (1962)
The skinny dip scene was filmed on May 23, 1962. Marilyn was fired from the film on June 8, and died the following August. The film, itself a remake of “My Favorite Wife”, was remade in 1963 as “Move Over, Darling” starring Doris Day and James Garner.
don’t mind me, just reaching past you
hey, give me attention
From Calibration to Integration:Consciousness After Power vs. Force
Few works in contemporary spiritual literature have exerted the enduring influence of Power vs. Force, the seminal text by David R. Hawkins. Since its publication in the mid-1990s, the book has shaped how countless readers understand consciousness, morality, and the dynamics of personal and collective power. Its core thesis—that truth possesses an intrinsic, self-sustaining power vastly superior to coercion, fear, and egoic force—offered a moral and spiritual compass at a time when such clarity felt urgently needed. Yet spiritual understanding, like consciousness itself, evolves. While Power vs. Force remains foundational, its framework reflects the concerns and assumptions of its era. In contrast, Book of Light: Transforming Shadow, Suffering, and Self arises from a later and more psychologically nuanced moment—one informed by trauma theory, developmental psychology, somatic awareness, and post-nondual inquiry. Together, these works illuminate not a contradiction, but a progression: from mapping consciousness to inhabiting it; from transcendence to integration; from hierarchy to wholeness. The Promise and Limits of Mapping Consciousness Hawkins’ Map of Consciousness offered something rare in spiritual discourse: apparent objectivity. Emotions, beliefs, institutions, and even historical figures were assigned calibrated numerical values, locating them on a scale ranging from shame and guilt to enlightenment. The distinction between force and power—between egoic striving and truth-aligned presence—provided readers with a compelling interpretive lens through which to understand both personal suffering and global conflict. For many, this framework was liberating. It reframed inner turmoil not as personal failure, but as a temporary residence within identifiable states of awareness. It suggested that alignment with truth, rather than effort or domination, was the true engine of transformation. In a culture saturated with force—political, psychological, and relational—this insight was revolutionary. Yet the very act of mapping consciousness introduces an implicit hierarchy. While useful for orientation, hierarchies carry shadow. Emotional states such as fear, grief, rage, and shame risk being interpreted not as intelligible human responses to lived experience, but as indicators of inferiority or spiritual deficiency. The subtle danger is not intellectual error, but avoidance: the impulse to transcend what remains unresolved. From Transcendence to Integration Book of Light enters precisely where hierarchical spirituality begins to fracture. Rather than ranking states of consciousness, it asks how those states come into being. Ego is not treated as a moral failing or energetic liability, but as a developmental adaptation—formed through early relational experiences, unmet needs, and the nervous system’s attempt to maintain coherence under stress. In this framework, shadow is not something to be eliminated, nor an obstacle to awakening, but the residue of unintegrated experience. What Hawkins might classify as lower-level states, Book of Light understands as fragments of consciousness that have been split off in order to survive. The work of awakening, therefore, is not escape, but return. This represents a shift from transcendence to integration. Where Power vs. Force emphasises surrender as release from egoic attachment, Book of Light reframes surrender as the willingness to remain present with what has been exiled. Liberation is not achieved by rising above the shadow, but by metabolising it—by allowing the nervous system, psyche, and awareness itself to complete unfinished movements of feeling and meaning. Truth Beyond Measurement
One of the most debated aspects of Hawkins’ work is his use of applied kinesiology as a means of discerning truth. While compelling to some, this approach places truth in an externalised framework: something that can be tested, verified, and ranked independently of relational context. The authority of truth, in this view, rests on measurement. Book of Light quietly dissolves this assumption. Truth, here, is not a proposition to be tested but a quality of presence. It emerges through intimacy with experience rather than evaluation of it. The question is no longer “Is this true or false?” but “What remains when resistance ceases?” Truth reveals itself not through muscular response, but through coherence—through the felt sense of alignment that arises when nothing is being avoided. This does not reject Hawkins’ insistence on truth; it radicalises it. Truth is not something consciousness points toward from a distance. It is what consciousness becomes when fragmentation resolves. Power, Force, and the Psychology of Shadow Hawkins’ distinction between force and power remains one of the most elegant contributions to modern spiritual thought. Force is compulsive, reactive, and extractive. Power is generative, stable, and inherently benevolent. Yet Power vs. Force rarely examines how force is psychologically produced within the individual. Egoic reactivity is identified, but its origins are left largely unexplored. Book of Light fills this gap. Force, in this later framework, is the behavioural expression of unintegrated shadow. What is denied seeks expression; what is repressed returns as compulsion; what is unacknowledged becomes projected. Power does not emerge simply by aligning with higher states, but by reclaiming disowned parts of experience. When shadow is integrated, force dissolves naturally—not through suppression, but through understanding. This psychological grounding renders spiritual maturity less performative and more embodied. Awakening ceases to be an identity and becomes a process of ongoing integration. Collective Implications: From Enlightenment to Healing Both texts recognise that individual consciousness shapes collective reality. Hawkins famously argued that a relatively small number of individuals operating from high levels of consciousness could counterbalance vast amounts of societal force. This remains a powerful idea. Book of Light does not refute this, but reframes how collective change occurs. Rather than relying on hierarchical enlightenment, it emphasises the cumulative effect of widespread shadow integration—particularly intergenerational and systemic trauma. Unintegrated patterns do not disappear; they replicate themselves through institutions, ideologies, and relationships. Collective evolution, therefore, depends not only on elevated awareness, but on the willingness to face inherited pain. In this sense, Book of Light speaks directly to the psychological conditions of the present moment—polarisation, identity fragmentation, and the resurgence of coercive force in social discourse. The work suggests that consciousness evolves not only upward, but inward. An Evolution, Not a Rejection Seen together, Power vs. Force and Book of Light form an arc rather than a dichotomy. Hawkins mapped the terrain and named its fundamental law: truth outweighs force. Holmer steps into that terrain and asks what must be integrated for truth to be lived rather than idealised. If Power vs. Force articulated awakening as alignment with higher consciousness, Book of Light articulates awakening as wholeness. Force cannot defeat force. But neither can light bypass shadow. What is rejected returns as force.
What is integrated becomes light.
Source: From Calibration to Integration:Consciousness After Power vs. Force
still thinking about the showgirl studio footage we got in the doc. in contrast to the ttpd footage we've seen where taylor is just sad and singing into the mic, while making showgirl she was dancing and laughing and experimenting, shellback was throwing pillows on the ground and hitting a whiskey bottle with drumsticks to capture the sounds he was after; the work felt like PLAY for taylor, and it really reminds me of the 1989 studio footage where you could just tell they had a blast making that album. and i love seeing that, i love seeing little glimpses into how the process of taylor making her albums has a direct influence on the end product. which like, duh, but it's just so fascinating to see it for yourself!!!
i think it’s hilarious and genuinely fascinating how there are such contradicting perceptions of Taylor Swift and her brand, her music, her relationships, etc. because what do you mean that the same album can get reactions like “Taylor Swift is racist and wants to be a tradwife” and “Taylor Swift is brainwashing young girls into being radical misandrists” ?? and the album in question is about being rich and successful whilst pursuing personal happiness/love/domesticity. it’s not really trying to send a message but rather tell a story i think, of the life of a showgirl on tour. i mean, that’s why it’s called The Life of a Showgirl. just really funny to me the extremes that people think up and how opposite they can be depending on who’s talking.
sorry I can’t talk right now I'm looking at the moon
I CAN MAKE DEALS WITH THE DEVIL BECAUSE MY DICKS BIGGER
I protect the family
ABSOLUTELY DYING
TAYLOR SWIFT Late Night with Seth Meyers (8 October 2025)
I know these people are incapable of feeling guilt or empathy most of the time, but I'm going to tell every one of them my mother died and it sucked. I don't care.
Maybe I'm trying to make sure a horrible, pointless, unnecessary death can have some meaning beyond my grief. That my mom's suffering can have some... reason.