‘Scrolls of Frolicking Animals’ (Chōjū-jinbutsu-giga) from the Kōzan-ji temple in Kyoto, 12th/13th century.
Animated by Studio Ghibli in 2016 ✏️
The Stonewall Inn

oozey mess
he wasn't even looking at me and he found me
Fai_Ryy

shark vs the universe
Aqua Utopia|海の底で記憶を紡ぐ
icyghini twinkie
cherry valley forever
No title available
𓃗

roma★

Andulka

ellievsbear
Lint Roller? I Barely Know Her
"I'm Dorothy Gale from Kansas"
RMH
almost home
Show & Tell
🪼
occasionally subtle
seen from France

seen from Türkiye

seen from Italy

seen from Chile
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seen from United States
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@mememememe7
‘Scrolls of Frolicking Animals’ (Chōjū-jinbutsu-giga) from the Kōzan-ji temple in Kyoto, 12th/13th century.
Animated by Studio Ghibli in 2016 ✏️
Bizarre Magazine covers from 1946-53.
Launched in the mid-1940s by British-born illustrator, photographer, and self-styled fetish visionary John Willie, Bizarre emerged from the shadowy correspondence networks of corset devotees, shoe worshippers, bondage enthusiasts, and readers who rarely saw their private desires reflected in public culture. Presented with the elegant camouflage of a “fashion fantasia,” the magazine combined photographs, letters, illustrations, advice, and Willie’s celebrated Sweet Gwendoline cartoons, carefully avoiding explicit nudity while creating a visual language charged with restraint, ritual, theatrical danger, and impossible glamour.
Its cultural impact reached far beyond its modest underground circulation: Bizarre helped transform isolated fetishes into the beginnings of a shared subculture, influenced later artists such as Eric Stanton and Gene Bilbrew, and established many of the silhouettes, costumes, poses, and power dynamics that still shape fetish photography, fashion, comics, and popular culture. What began as a secretive mail-order publication became one of the foundational documents of modern erotic iconography.
Bizarre Magazine covers from 1946-53.
Launched in the mid-1940s by British-born illustrator, photographer, and self-styled fetish visionary John Willie, Bizarre emerged from the shadowy correspondence networks of corset devotees, shoe worshippers, bondage enthusiasts, and readers who rarely saw their private desires reflected in public culture. Presented with the elegant camouflage of a “fashion fantasia,” the magazine combined photographs, letters, illustrations, advice, and Willie’s celebrated Sweet Gwendoline cartoons, carefully avoiding explicit nudity while creating a visual language charged with restraint, ritual, theatrical danger, and impossible glamour.
Its cultural impact reached far beyond its modest underground circulation: Bizarre helped transform isolated fetishes into the beginnings of a shared subculture, influenced later artists such as Eric Stanton and Gene Bilbrew, and established many of the silhouettes, costumes, poses, and power dynamics that still shape fetish photography, fashion, comics, and popular culture. What began as a secretive mail-order publication became one of the foundational documents of modern erotic iconography.
Portrait of a heterochromic cat. Postcard from my collection, mailed 1908.
Blondie
Domenichino, The Maiden and the Unicorn, 1602 // Anton Robert Leinweber, Dragon Resting Its Head On The Lap Of A Woman, 1912
Danielle Mckinney
Chrysalis, 2023 by Danielle Mckinney (American. b. 1981); Oil on linen
Toecutter from Jimmy...
Lucille Ball with a band called "The D.D.T.'s" in a scene from her 1965 television show The Lucy Show. This moment occurred in an episode where she worked a temporary job at a record company. The band was humorously named "The D.D.T.'s" as a spoof on The Beatles. The scene featured a fictional dance program called "Lucy Wing Ding".
The car under snow is stuck, Obninsk, Russia, 2016 - by PhotoChur
The Cars That Ate Paris
Gt Karakoram (via pedalcult)