
roma★

blake kathryn
Game of Thrones Daily
let's talk about Bridgerton tea, my ask is open
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Product Placement
Three Goblin Art
we're not kids anymore.

❣ Chile in a Photography ❣
he wasn't even looking at me and he found me

@theartofmadeline

Love Begins

#extradirty
YOU ARE THE REASON
PUT YOUR BEARD IN MY MOUTH
Sweet Seals For You, Always
𓃗
noise dept.

Kaledo Art
$LAYYYTER
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@estrangedescargots-blog
#BreakTheSystem
Africans respond to the re-release of the charity song Do They Know It’s Christmas? by One Direction, Bono, Sam Smith and others.
Abdullahi Halakhe, 31, policy analyst, Kenya
“I think the fundamental problem with the “saving” Africa posture is that it is predicated on the notion that Africa/Africans are agency-less, which for me is problematic because it is the continuation of never-ending paternalistic tendencies towards Africa.
“Also, the idea that Africa needs to be saved in 2014 by washed up C-list pop artists is a perverse example of a messiah complex.”
Robtel Neajai Pailey, 32, PhD researcher, Liberia
“Western charity songs like the one being proposed by Geldof are not only patronising, they’re redundant and unoriginal. Producing an Ebola song now to raise money, nearly one year after the first reported case in Guinea, is belated at best. It reeks of the “white saviour complex” because it negates local efforts that have come before it.”
Dawit Gebreselassie, 26, financial analyst, Ethiopia
“Ethiopia has for the last few years been trying extremely hard to change its image as a poster child for poverty. It has been trying to depict a new bright image to the world so as to attract tourists and foreign direct investment. But this uphill battle is always hindered when such reminders of the past appear again on the screens of the people that are trying to be persuaded.
“Africa’s only hope of success against poverty is through sustained, structured and equitable economic growth brought about through things such as investment and tourism. It’s hard to imagine how a few dollars raised every so often can possibly outweigh the damage it does by blemishing the continent’s image.”
Hadiyya Mwapachu, 30, student, Tanzania
“The oft-quoted observation by Marx that “history repeats itself, first as tragedy, second as farce” applies here for both its acuteness and how it has become a cliché. The Band Aid songs reflect this pattern. They begin as an attempt to respond to catastrophe and then excise all historical context and specificity. “The meaning that remains is that one should help as “well tonight, thank God it’s them instead of you”. This erases the history of state actions in fostering armed conflict and the deliberate displacement of civilians. The 1984 and 1989 Ethiopia famine relief editions did not recognise this history. The genocide in South Sudan was also absent in the 2004 version to raise money for Darfur.”
Chitra Nagarajan, 31, human rights activist, Nigeria
“It’s yet another classic sign of white Western saviourism, in this case with celebrities swooping in to “save” the people of Africa. Not only does this take away the agency of people living in African countries who are the ones who actually lead and make change happen, but it perpetuates stereotypes of conflict, poverty and disease as the single story of the continent.”
Can u say #wigsnatch
This week, Leanne Woodfull quit twitter. The following morning the Irish independent immediately reported on this groundbreaking piece of news, saying she ‘deleted her twitter account after being subject to cyber bullying’.
After immediately jumping to her defence, a few...
Righteous
pan pan's embers
Ghosts in the machine
The spectre of death surrounds Pan Pan's latest foray into Beckett's radio dramas, this time Embers. A giant wooden skull grins out at the audience, dimly lit. Voices from ghosts demanding to be heard reverberate around the dark, black space. Embers of humanity are dissected in grim and gripping detail. The lost and confused voice of Henry, who sits on a beach, vainly trying to contact his dead father, barks angrily, and at times with a deep sadness. The gentle blue green lights that flutter across the stones of the theatre combined with the gentle and constant sounds of the sea serve to immerse the audience in the auditory experience, trapping us inside the radio. Hanging from the stage are dozens of speakers, and behind the eyes of the giant skull voices examine the shreds and remnants of lives lived. Henry and his wife Ada desperately try to remember their shared lives, sometimes failing, sometimes remembering only the most upsetting and confusing thoughts. Unsure of where there daughter is, or what age she is, they lament over her cries and the child's scream echoes around us. The horses tormenting hooves, and the violent drips of water sound like a veritable death knell. The spectre of death is ever-present.
A radio play necessitates in creating an absence of the visual, but in the staging of the voices, director Gavin Quinn has created a visual and auditory experience that both traps and confronts the audience. In a masterful display of subtle lighting and, at times, truly terrifying sound design, this performance is one that will haunt an audience. The grimace of the skull seems almost manic as the lights fade to an imperceptible glow, and when Henry finally remembers how to laugh, it seems that the skull itself is laughing at you.
hehehe
i like these boobs
It’s the Final Countdown | Forget Me Now
“Take a look at banner, Michael!”
Hong Kong August 2012-March 2013
portrait of a man with small sensitive nipples
Illustration Copyright 2013 Catherine A. Moore Illustration & Design
www.catherineamoore.com
a woman’s body is not for you. if she wants to cover it she should feel free and safe in doing so. if she wants to expose it she should feel free and safe in doing so. it is not an indication of her self-respect but an indication of her preferences for whatever reasons she chooses — none of which are your business or concern.
#122 Mr. Mime
somewhere a mountain is moving - afraid it's moving without me