[jareckiworld]

Ilya Kreydun — In Heaven, Everything is Fine  (oil, charcoal, tempera and collage on panel, 2017)

[itsallinm3]

[yorkeantiquetextiles]

Kimono-Shaped Coverlet (Yogi) with Lobster and Crest, mid-19th century. Credit Line: Seymour Fund, 1966. MET

[trophywive-deactivated20250803]

i watch movie i have an epiphany i forget it the next day . that’s just who i am

[nevver]

Cinema red and blue, Aishy

[aquaticwonder]

Mt Fuji from the International Space Station (via)

[fravery]

Sherrie Wolf (American, b. 1952) 'Sea of Tea', 2019 Oil on canvas,

[fravery]

Rumi was a mystical poet born in what is now Afghanistan in 1207 and died in 1273 ... Only Breath by Rumi as translated by Coleman Barks & Shirin-Neshat photo Rapture... Not Christian or Jew or Muslim, not Hindu, Buddhist, sufi, or zen. Not any religion, or cultural system. I am not from the East or the West, not out of the ocean, or up from the ground, not natural or ethereal, not composed of elements at all. I do not exist, am not an entity in this world or in the next, did not descend from Adam and Eve or any origin story. My place is the placeless, a trace of the traceless. Neither body or soul. I belong to the beloved, have seen the two worlds as one and that one call to and know, first, last, outer, inner, only that breath breathing human being.

[royalhandmaidens]

so many westerners giving heartless, uninformed, and unsolicited opinions on afghanistan while ignoring the following:

the US government covertly provided schoolbooks for children that promoted militant and incorrect Islamic teachings and included images of weapons and soldiers in an effort to encourage a hatred of foreign invaders (i.e. the Soviets and evil communism) in children

“The school books, which were filled with talk of jihad and featured drawings of guns, bullets, soldiers and mines, have served since then as the Afghan school system's core curriculum. Even the Taliban used the American-produced books.”

excerpt from the book, titled “the alphabet of jihad” -> “All the Russians and infidels are our enemy. No one can invade our country. Only Muslim Afghans can rule over this country.”

the US financially supported the Taliban between 1994-1996 because Washington viewed the Taliban as anti-Iranian, anti-Shia and potentially pro-Western

Washington wanted Taliban support for the development of a US-based oil company Unocal - and so they stayed silent when the Taliban captured Herat in 1995, and expelled thousands of girls from schools (Rashid, 2000)

killed over 47,000 civilians

US forces massacred civilians deliberately on multiple occasions, such as the Kandahar massacre, where most of the victims were women and children civilians

routinely executed unarmed civilians by UK forces

targeting of hospitals in air strikes and bomb raids, such as this hospital in Kunduz

heavy usage of white phosphorus in civilian areas

killed afghan civilians ‘for sport’, multilated the bodies, posed with the bodies for pictures, and collected pieces for trophies

think before you speak.

[gael-garcia]

Salt of the Earth (1954), dir. Herbert J. Biberman

[thecringeandwincefactory-deacti]

Damn, son.

[kommunistika]

EVERYONE SHOULD WATCH SALT OF THE EARTH

[em578]

Salt of the Earth actually has a crazy interesting history- OP already said it was made in 1954, but that was in the middle of the Red Scare (communism scary cold war hysteria)

Congress’s anti-communism target fell hard on Hollywood, and those in the industry who were suspected of communism at all were blacklisted from all jobs, because studio’s didn’t want to face backlash from Congress

Salt of the Earth was made nearly 100% with blacklisted crew members from Hollywood, and had such difficulty finding actors that they hired local citizens and miners from the actual strike the plot is based on. There were only 5 trained actors involved, and one of them (Rosaura Revueltas, the woman in the gif) was deported to Mexico before they finished filming on accusations of communism, with no proof and no substance. The filming was plagued with police harassment and threats (according to my professor they were shot at more than once), and the local union hall was burned down.

The movie itself not only covers a real 1950′s labor strike demanding safer and more equal labor conditions for Mexican-American employees, but after the miners were facing arrest, their wives and children took up the strike in their place. The movie’s combination of blacklisted crew, civil rights and feminist message, and pro-union plot (during the red scare) got the movie blacklisted and only 12 theaters in the entire United States would show the movie- it was successful in Europe, but didn’t actually achieve viewership in the US until the 60′s

[gael-garcia]

https://www.theguardian.com/film/2014/mar/10/salt-of-the-earth-labour-workers-blacklisted-filmmakers

[beabaseball]

It is available on YouTube for free

[jca-archive]

Masaaki Aoki, from JCA Annual 4 (1982)

[normal-horoscopes]

thought you might like this

[tenebrobscuro]

The first simulated image of a black hole was calculated with an IBM 7040 computer using 1960 punch cards and hand-plotted by French astrophysicist Jean-Pierre Luminet in 1978.

[paolo-streito-1264]

Dance Hall, New York. c.1953 by Ed Feingersh.

[probablyasocialecologist]

“The genius of the World Bank’s conditional lending was that it was virtually risk-free for the creditors. The World Bank sells bonds on Wall Street, allowing commercial banks and private investors to buy global South debt. These ‘innovative debt products’, as the Bank calls them, are simultaneously safe (usually AAA rated) as well as high yielding, with returns of up to 15 per cent. How is the Bank able to deliver such large and secure returns? Because it wields direct power over its debtors. Through structural adjustment conditions, the Bank can force debtors to channel all their available resources towards repaying the loans, requiring them to cut spending elsewhere and raise new funds by selling off their assets. It’s a foolproof strategy. And it comes with the added benefit of prising open the receiving country’s market to foreign investors. This model of lending would never fly in normal commercial banking. Imagine you walk into Barclays to get a loan for a new business. Now imagine that they will lend to you only if you agree to give them complete control over your household, so that if your interest payments don’t come in fast enough, they can garnish your wages, liquidate your house and force your children to get jobs. Imagine, further, that you are not allowed to declare bankruptcy under any circumstances; if you can’t repay your loan you have to sell everything you own, stop feeding your children, stop buying whatever medicines you might need to stay healthy and channel all that money to the bank. Such an arrangement would never fly. We would never allow it. And yet such invasive conditions are routine when it comes to development loans.”

— Jason Hickel, The Divide: A Brief Guide to Global Inequality and its Solutions

[notsoluckyho]

honestly one of the best books, I would highly recommend

[tonysopranobignaturals-deactiva]

I was reading top posts in r/MandelaEffect and omg the one about the robber emoji existing...WHO ELSE REMEMBERS A ROBBER EMOJI ???? It never existed but I SWEAR it did omfg I'm losing my mind now. And there were two versions of it, the robber running with the money bag and the robber's face up close. DOES ANYONE ELSE REMEMBER

[tonysopranobignaturals-deactiva]

"It did exist" LOOK IT UP IT NEVER DID IM NOT KIDDING

Edit: this is iOS

[desbianherstory]

south asian lesbian cinema:

I. minor lesbian content/subtext

Umbartha (1982), dir. Jabbar Patel

Mandi (1983), dir. Shyam Benegal

Razia Sultan (1983), Kamal Amrohi

Ustav (1984), dir. Girish Karnad

Khalnayak (1993), dir. Subhash Ghai

Kama Sutra: A Tale of Love (1996), dir. Mira Nair

II. lesbian characters/relationships

Fresh Kill (1994), dir. Shu Lea Cheang

Fire (1996), dir. Deepa Mehta

Chutney Popcorn (1999), dir. Nisha Ganatra

Nil Nirjane (2003), dir. Subrata Sen

Sancharram (2004), dir. Ligy J. Pullappally

Nina’s Heavenly Delights (2006), dir. Pratibha Parmar

The World Unseen (2007), dir. Shamim Sarif

I Can’t Think Straight (2008), dir. Shamim Sarif

Soongava: Dance of the Orchids (2011), dir. Subarna Thapa

Qissa (2013), dir. Anup Singh

Mitraa (2014), dir. Ravi Jadhav

Dedh Ishqiya (2014), dir. Abhishek Chaubey

Angry Indian Goddesses (2015), dir. Pan Nalin

Margarita with a Straw (2015), dir. Shonali Bose

Family Album (2015), dir. Mainak Bhaumik

Satyavati (2016), dir. Deepthi Tadanki

Signature Move (2017), dir. Jennifer Reeder

Kattumaram (2018), dir. Swarnavel Eswaran

Ek Ladki Ko Dekha Toh Aisa Laga (2019), dir. Shelly Chopra Dhar

Season of Love (2019), dir. Christin Baker

Lihaaf (2019), dir. Rahat Kazmi

Hum Bhi Akele, Tum Bhi Akele (2020), dir. Harish Vyas

Geeli Pucchi (2021), dir. Neeraj Ghaywan

III. lesbian documentaries

Exposure (1990), dir. Michelle Mohabeer

Flesh and Paper (1990), dir. Pratibha Parmar

Khush (1991), dir. Pratibha Parmar

Bolo! Bolo! (1991), dirs. Ian Rashid and Kaspar Saxena

Two/Doh (1996), dir. Michelle Mohabeer

Rewriting the the Script: A Love Letter to Our Families (2001)

For Straights Only (2001), dir. Vismita Gupta-Smith

Many People, Many Desires (2004), dir. T. Jayashree

Brown Like Me (2009)

DESIGIRLS! (2010) dir. Ishita Srivastava

Our Story: Women Who Love Women (2010), dir. Anoma Rajakaruna

I Am (2011), dir. Sonali Gulati

Project Bolo: Indian Lgbt Movement (2011), dir. Sridhar Rangayan

…and the Unclaimed (2013), dir. Debalina Majumder

And You Thought You Knew Me (2013), dir. Pramada Menon

Purple Skies (2014), dir. Sridhar Rangayan

Poshida: Hidden LGBT Pakistan (2015), dir. Faizan Fiaz

Sangini (2016), dir. Nancy Nicol

Ladies and Gentlewomen (2017), Malini Jeevarathnan

Yeh Freedom Life (2018), dir. Priya Sen

Take Me as I Am (2019), dir. Jeremiah Fernandes

Stories of Lesbian Couples From Small Towns and Villages (2019), dir. Vatsala Singh

IV. lesbian short films

Ferdous (1990), dir. Shakila Maan

Lest I Burn (1991), dir. Shani Mootoo

A Paddle and a Compass (1992), dirs. Shani Mootoo and Wendy Oberlander

The Wild Woman in the Woods (1993), dir. Shani Mootoo

Coconut/Cane & Cutlass (1994), dir. Michelle Mohabeer

Two/Doh (1996), dir. Michelle Mohabeer

Her Sweetness Lingers (1994), dir. Shani Mootoo

Guerita & Prietita (1995), dirs. Kathy High and Shani Mootoo

Sum Total (1999), dir. Sonali Gulati

Petals (2001), dir. Suresh Natarajan

Barefeet (2002), dir. Sonali Gulati

Sara (2010)

More Than A Friend (2010), dir. Debalina Majumder

The Queen of My Dreams (2012), dir. Fawzia Mirza and Ryan Logan

The Story of Nilu (2014), dir. Nilu Sherpa

Story Teller: Anuja (2015), dir. Avani Batra

Tremors (2016), dir. Shivangi Mittal

If You Dare Desire (2017), dir. Debalina Majumder

Rainbow In A Brown World (2017), dir. Rhea Dease

Love. No Boundaries: A Film (2017), dir. Monisha Ajgaonkar

Anthadhi (2017)

Devi: Goddess (2017), dir. Karishma Dev Dube

Roohi (2018), dir. Nayan Shah

Ishq, Dosti and All That (2018), dirs. Rituparna Borah, Srishti Lakhera, Bhamati Sivapalan, Ritambhara Mehta

The Booth (2018), dir. Rohin Raveendran

U for Usha (2019), dir. Rohan Kanawade

Long Distance (2019), dir. Anoop Lokkurs

I Know Her (2019), dir. Fawzia Mirza

Sheer Qorma (2020), dir. Faraz Arif Ansari

The Song We Sang (2020), dir. Aarti Neharsh

My Mother’s Girlfriend (2021), dir. Arun Fulara