
oozey mess

roma★

★
untitled

pixel skylines

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let's talk about Bridgerton tea, my ask is open
he wasn't even looking at me and he found me
d e v o n

tannertan36
wallacepolsom
Aqua Utopia|海の底で記憶を紡ぐ

Discoholic 🪩

❣ Chile in a Photography ❣
Show & Tell
Three Goblin Art
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Kiana Khansmith
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I'd rather be in outer space 🛸

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@flaneries-blog
“A government that kills farmers is no longer needed A government that supports rapists of women is no longer needed”
Michael Jackson once told Oprah he didn’t want a white actor to play him
In the middle of a controversy over white actor Joseph Fiennes’ new role as Michael Jackson in an upcoming British TV movie, who better to hear from than the King of Pop himself? In 1993, Jackson explained his vitiligo and his pride in being black. That didn’t stop Fiennes from coming up with an excuse for his casting.
coldplay turning our faves problematic since 2011
😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒😒 Such a damn mess
“Anyone who stays in an Airbnb facilitates the commission of the crime of establishing settlements and therefore aids and abets the crime."
Palestinians are calling for a boycott of the web-based room-sharing platform Airbnb, blasting the company for allowing postings from residents of Israeli settlements in the occupied West Bank.
Capitalism was born in disrepute, born of the rapes, massacres, occupations, genocides, colonialism and every despicable act humans are capable of inflicting. Capitalism was not responsible for some great, otherwise unimaginable leap in production, which—despite its contradictions—resulted in human progress and enlightenment. What capitalism did was to rip the vast majority of humanity out of the productive process—in Africa, Asia, the Middle East, Australia and what has come to be known as the Americas. The hundreds of millions dead due to the slave trade and slavery itself; the millions exterminated everywhere Europeans ventured—these are people whose hands were forever removed from a relationship with nature that would result in ‘production.’ Europeans achieved their national identity by way of this bloody process. This is not something that only happened a long time ago. The world’s peoples are suffering the consequences of capitalism’s emergence right now. Locked in colonies and the indirect rule of neocolonialism, restricted to lives characterized by brutality, ignorance and violence in the barrios of the Americas, in other internal colonies characterized as Indian reservations and black ghettos, kept under the paranoiac, nuclear-backed, armed-to-the-teeth watch of military forces born of a state power that has its origins in protecting the relationship between capitalism and its imperial pedestal, capitalism has been the absolute factor in restricting production and development. It has concentrated productive capacity in the hands of the world’s minority European population that sits atop the pedestal of our oppressive reality. Capitalism was not the good, “progressive” force that is the precursor to something better for “humanity.” Capitalism was a disaster that rescued Europe from a diseased feudal existence at the expense of the world.
Omali Yeshitela (via proletarianfeminism)
Shiraz, Iran.
Omg
THE MOVEMENT WILL BE BLACK FEMINIST
The political efforts of Black women have been rendered invisible throughout history–in the #BlackLivesMatter movement, and the recent protests at Mizzou that led to Tim Wolfe’s resignation. We can’t let their work go unrecognized.
I am sensing a theme here…..
Illustrations by Gopulu (in Ananda Vikatan, 1957) and Bapu bommalu.
Juhi Chawla in Shaheed Udham Singh (2000)
Although the form Yakṣagāna has been dated by some scholars as emerging in the 16th century and by others in the 18th century, its origins and growth can be traced back, as in the case of Kūṭiyāṭṭaṁ, to Sanskrit literature and its theatre on the one hand, and Kannada literature and the many forms of ritual dancing and music prevalent in the area on the other. Like Kūṭiyāṭṭaṁ, it carries forward many of the traditions and conventions of the Sanskrit theatre, particularly those of the Purva-ranga, the Vidusaka, and the purposive denial of the unities of time and space. Also like Kūṭiyāṭṭaṁ, it evolves its distinctive form in the use of recitative modes of poetry, melodies of music, rhythm, dance technique, and above all, costuming and make-up. Unlike Kūṭiyāṭṭaṁ however, it departs in many significant ways form the conventions of the Sanskrit stage and does not contain a highly elaborate language of hand gestures (hastābhinaya) and eye-gestures (netrābhinaya). It is also closely related to developments in literature in the adjoining states of Andhra Pradesh and Tamil Nadu and has some affinities to literary forms which flourished in the Maratha courts of Tanjore.
Scanned from Traditional Indian Theatre: Multiple Streams (1980) by Kapila Vatsyayan.