Q: Should I get back on this this Foolish Website

blake kathryn
One Nice Bug Per Day
YOU ARE THE REASON
wallacepolsom
he wasn't even looking at me and he found me
we're not kids anymore.
Three Goblin Art
occasionally subtle
Sade Olutola
Monterey Bay Aquarium

Andulka
Xuebing Du
i don't do bad sauce passes

tannertan36
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AnasAbdin

@theartofmadeline

Love Begins

Janaina Medeiros
Mike Driver
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@gee-quinn
Q: Should I get back on this this Foolish Website
My kink is having absolutely no one from high school know anything about me or what I’m doin now lmao
How can another see into me, into my most secret self, without my being able to see in there myself and without my being able to see him in me? And if my secret self, that which can be revealed only to the other, to the wholly other, to God if you wish, is a secret that I will never reflect on, that I will never know or experience or possess as my own, then what sense is there in saying that it is “my” secret, or in saying more generally that a secret belongs, that it is proper to or belongs to some “one,” or to some other who remains someone? It is perhaps there that we find the secret of secrecy, namely, that it is not a matter of knowing and that it is there for no-one. A secret doesn’t belong, it can never be said to be at home or in its place [chez soi]. […] The question of the self: “who am I?” not in the sense of “who am I” but “who is this ‘I’ ” that can say “who”? What is the “I,” and what becomes of responsibility once the identity of the “I” trembles in secret?
Jacques Derrida, The Gift of Death (via nemophilies)
Margaret Burroughs - Black Venus (1957)
“Burroughs had a vision of doing more to preserve black heritage. With her husband, Burroughs converted the ground floor of their old Chicago mansion into a small museum in which they could display a variety of artifacts. More than 500 people toured the museum during its first year. Heartened by the public’s interest, Burroughs devoted herself to raising funds for the museum. She firmly believed that this museum would enrich lives, especially those of young black people. “A museum …shows kids they can be somebody,” Burroughs stated in Black Enterprise.
By emphasizing the cultural and racial roots of black people, Burroughs hoped to teach young people that not only could they be somebody but that they came from a proud and strong black heritage. Besides serving as a repository for black art, papers, artifacts, and memorabilia, the museum also met the needs of its visitors with youth activities, essay contests, art festivals, and poetry festivals. By 1970, museum attendance was more than 30,000 annually.” [Source]
It’s a very good point.
u ever think about how ur skeleton is always wet
do you accept constructive criticism on your posts
this is so real though!! we think about bone-dry bones but our relationship with our own bones is wet wet wet. they are also the birthplace of blood. important info for those into somatics.
i am comforted by the thought of my dripping wet skeleton, a fountain of blood in the shape of being metal as fuck
Stevie Nicks, Laurel Canyon 1981, by Neal Preston
Reasons are not automatically excuses
Reasons are not automatically excuses
Reasons are not automatically excuses
Correct:
“i’m so sorry I hurt you like that. I’m really struggling with my mental illness. That doesn’t make it okay, but that’s just the reason why I’m being like this. I’m sorry for being a dick.
Disgusting:
“um, well I have depression so you should stop hating on me and cut me a break. I can do whatever I want.”
Reasons are not automatically excuses.
Correct:
“sorry that I lashed out. My sister is in hospital and I’m really messed up about it. I’ve been pretending I’m fine about it and then I took everything out on you. I’m really sorry.”
Disgusting:
“lol um,, my sister is in HOSPITAL with CANCER so u should get off my back and stop being mean to me because im, like, so totally upset”
Reasons are not automatically excuses.
Hell’s Café (L’enfer), established in Paris durnig the XIX century
No one disputes that white abolitionists were active in the Underground Railroad, but later scholars argued that [a white historian] had exaggerated both their numbers and their importance, while downplaying or ignoring the role played by African-Americans. Among religious sects, for example, the Quakers generally receive the most credit for resisting slavery, with secondary acknowledgment going to the wave of evangelical Christianity that spread across the United States during the first half of the nineteenth century, in the movement known as the Second Great Awakening. Yet scant mainstream attention goes to the African Methodist Episcopal Church, which was established in 1816, in direct response to American racism and the institution of slavery, and played at least as crucial a role in raising money, aiding fugitives, and helping former slaves who had found their way to freedom make a new life. This lopsided awareness holds not only for institutions but for individuals. Many people know of William Lloyd Garrison, one of the country’s leading white anti-slavery activists, while almost no one knows about the black abolitionist William Still—one of the most effective operators and most important historians of the Underground Railroad, whose book about it, published a quarter of a century before Siebert’s, was based on detailed notes he kept while helping six hundred and forty-nine fugitives onward toward freedom. Likewise, more people know the name of Levi Coffin, a white Midwestern Quaker, than that of Louis Napoleon, a freeborn black abolitionist, even though both risked their lives to help thousands of fugitives to safety. This allocation of credit is inversely proportional to the risk that white and black anti-slavery activists faced. It took courage almost everywhere in antebellum America to actively oppose slavery, and some white abolitionists paid a price. A few were killed; some died in prison; others, facing arrest or worse, fled to Canada. But these were the exceptions. Most whites faced only fines and the opprobrium of some in their community, while those who lived in anti-slavery strongholds, as many did, went about their business with near-impunity. Black abolitionists, by contrast, always put life and liberty on the line. If caught, free blacks faced the possibility of being illegally sold into slavery, while fugitives turned agents faced potential reënslavement, torture, and murder. Harriet Tubman is rightly famous for how boldly she faced those risks: first when she fled slavery herself; then during the roughly twenty return trips she made to the South to help bring others to freedom; and, finally, during the war, when she accompanied Union forces into the Carolinas, where they disrupted supply lines and, under her direction, liberated some seven hundred and fifty slaves. By then, slaveholders in her home state of Maryland were clamoring for her capture, dead or alive, and, in the words of her first biographer, publicly debating “the different cruel devices by which she would be tortured and put to death.”
[“The Perilous Lure of the Underground Railroad”] (via rienfleche)
In 1941, Manfred Lewin (left), a young Jewish man living in Nazi Berlin, made a small book of poems and pictures. He gave this book to his boyfriend, Gad Beck (right), as they waited out an air raid together.
Today, The United States Holocaust Memorial Museum has a beautiful online exhibit where you can view this book in its entirety, along with translations and additional information. It’s a wonderful little piece of queer history, and I encourage you all to check it out here.
The blue-ringed octopuses (genus Hapalochlaena) are three (or perhaps four) octopus species that live in tide pools and coral reefs in the Pacific and Indian Oceans, from Japan to Australia.
Contrary to popular belief, the blue-ringed octopus is not the only venomous octopus. In fact, studies have shown all octopuses are venomous. The blue-ringed, however, is the only octopus with venom powerful enough to kill a human.
“Replicants are like any other machine. They’re either a benefit or a hazard. If they’re a benefit it’s not my problem.” — Blade Runner (1982, dir. Ridley Scott)
2001: A Space Odyssey adapted as a role-playing game in 1984 by TSR, the behind Dungeons & Dragons.