Young Gods Rise Up

queer weirdo fat femme witch in a rotten apple, a dying phoenix, a sad boi, a heavy heart with a smart ass. But most of all, I love the moon.

[ecstvsy]

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A post shared by luhtank_ (@cfn._.tank23) on Sep 16, 2019 at 9:05pm PDT

[cinemaspam]

One of the inspirations for cinematographer James Laxton for his work on the film Moonlight was Dutch art photographer Viviane Sassen. Her work had a huge influence on Laxton’s choice of colors for some of the film’s most iconic scenes like the swimming lesson, set in it high contrast colors and crystalline blues. The moment feels biblical as Juan holds Chiron in what looks like a pieta over the waves. As Juan releases him to float, Chiron quickly steadies himself and Juan says, “Right there, you’re in the middle of the world”. In the midst of this pivotal moment of self-discovery there’s a real awareness of the camera as the water is lapping against the lens. Laxton had to maneuver a 200-pound camera in an underwater housing for the scene. The waves distort the lens to accentuate the feeling of being present at such an intimate moment.

Moonlight (2016) dir. Barry Jenkins

[the-arrows-of-providence]

“Art and culture are themselves time-traveling, planes of existence where the past, present, and future shift seamlessly in and out. And for those of us from communities with historic collective trauma, we must understand that each of us is already science fiction walking around on two legs. Our ancestors dreamed us up and then bent reality to create us.”

— Walidah Imarisha, Octavia’s Brood (via shadeismyresistance)

[demetriusmarkee]

[townleymikey]

Panorama Drive

[coutureicons]

rolls, tummies, & thighs

[revolutionarykoolaid]

Look at God! LOOK AT THE PEOPLE! Y’all brought Cyntoia Brown home. There’s still so much work to do, but I’m proud af of every single one of you that took action, no matter how big or small. #allpowertothepeople

[pylonss]

“Love takes off masks that we fear we cannot live without and know we cannot live within.”

- James Baldwin

[metaphorformetaphor]

How do you know I’m what you see?

James Baldwin, from Giovanni’s Room (Vintage, 2013; first published 1956)

[quotemadness]

Art is here to prove, and to help one bare, the fact that all safety is an illusion.

James Baldwin (via quotemadness)

[metaphorformetaphor]

And no matter what I was doing, another me sat in my belly, absolutely cold with terror over the question of my life.

James Baldwin, from Giovanni’s Room (Vintage, 2013; first published 1956)

[violentwavesofemotion-deactivat]

Most people guard and keep; they suppose that it is they themselves and what they identify with themselves that they are guarding and keeping, whereas what they are actually guarding and keeping is their system of reality and what they assume themselves to be. One can give nothing whatever without giving oneself—that is to say, risking oneself.

James Baldwin, from “The Fire Next Time,” published c. 1963 (via violentwavesofemotion)

[oldfilmsflicker]

“I was not born to be what someone said I was. I was not born to be defined by someone else, but by myself, and myself only.” - James Baldwin

[macrolit]

Ignorance, allied with power, is the most ferocious enemy justice can have.

James Baldwin (born on this day in 1924)

[quotespile]

Anyone who has ever struggled with poverty knows how extremely expensive it is to be poor.

James Baldwin, Nobody Knows My Name (via quotespile)

[violadvis]

I didn’t want to be the Vogue woman. I didn’t want to be the woman who came in with the sexualized. Every time you see that sexual, mysterious, kind of cold woman, she always looks like she jumps out of bed with that blow-dried hair and that dewy skin and, you know, those Double-Zero clothes. I did not want to be that woman because I don’t know that woman. And I’ve been watching that woman in movies for several years. And I felt like this was my chance to woman up. I want to present women as they really are. It’s not always about being pretty. But it is about uncovering and feeling comfortable with the way we are and the way we look when we’re in private. You know, as soon as you walk through the door, what do you do? You take off your bra, you let your titties sag, you let your hair come off. I don’t have any eyebrows. I let my eyebrows be exactly what they are. And it’s me. And I wanted that scene to be somewhere in the narrative of Annalise. That who she is in her public life and who she was in her private life were absolutely, completely diametrically opposed to one another. Because that’s who we are as people. We wear the mask that grins and lies.

 — Viola Davis for The Wrap on the iconic Wig Scene.

[queengreendown]

Enter here where one discovers that destiny can be directed, that one does not need to remain in bondage to the first wax imprint made on childhood sensibilities.

Anaïs Nin