15 / maša mirė

ig🌊@merlinmorlo

[memorygirls-deactivated20250816]

There’s no way this isn’t Depeche Mode lyrics

[meisterdrucke]

A Gnome by Tree Roots, 1928 by Arthur Rackham Oil on canvas, 1928 Private Collection

[distantvoices]

MJ Rodriguez for Christian Cowan SS22

[yard666sale]

[yard666sale]

[zegalba]

Kerouac Magazine: ヘアウォーズショーケース Collection Of Innovative Hairstyles From Japan’s Harajuku District (1999) Scanned By: @zerocoolarchive

[disease]

“SHAMPOO” // 1930s OSAMU SHIIHARA 椎原 治 [gelatin silver print (solarized) | 17 13/16 × 12 3/8″]

[brightwanderer]

I think a lot about how we as a culture have turned “forever” into the only acceptable definition of success.

Like… if you open a coffee shop and run it for a while and it makes you happy but then stuff gets too expensive and stressful and you want to do something else so you close it, it’s a “failed” business. If you write a book or two, then decide that you don’t actually want to keep doing that, you’re a “failed” writer. If you marry someone, and that marriage is good for a while, and then stops working and you get divorced, it’s a “failed” marriage.

The only acceptable “win condition” is “you keep doing that thing forever”. A friendship that lasts for a few years but then its time is done and you move on is considered less valuable or not a “real” friendship. A hobby that you do for a while and then are done with is a “phase” - or, alternatively, a “pity” that you don’t do that thing any more. A fandom is “dying” because people have had a lot of fun with it but are now moving on to other things.

I just think that something can be good, and also end, and that thing was still good. And it’s okay to be sad that it ended, too. But the idea that anything that ends is automatically less than this hypothetical eternal state of success… I don’t think that’s doing us any good at all.

[equatorjournal]

varadero beach, 1970’s

[obviouswreck]

Akira Nagasawa  長沢明    - Reborn

[un--follow--ed]

[altered-statuses]

Energy Ecstasy and Your Seven Vital Chakras, Bernard Gunther (North Hollywood: Newcastle Publishing Co., 1983), p107.

[artist-corbusier]

Etude quatre mains, lithographies, 1955, Le Corbusier

[nobrashfestivity]

Yves Klein, Grand Monopink (MP 16), 1960

Pure pigment and synthetic resin on fine canvas mounted on panel 199 x 153 cm Louisiana Museum of Modern Art, Humlebæk, Denmark Photo: © Louisiana Museum of Modern Art. Long-term loan: Museumsfonden af 7. december © Succession Yves Klein c / o ADAGP Paris

[satindesoie]

Jil Sander ss00 x ss02

[jinxproof]

Björk, 1995 | ph. Steve Gullick

© Steve Gullick

[389]

Tishan Hsu, Double Absence, 2016