[onedirectionfacingmecca]

wishing everyone and their communities health and safety

[wintanaphotographs]

Aboy Ke’she (Father Priest) directly translated, is my Grandfather. He was 101 when I took this photo.

Wintana Taddesse- 2016

[jareckiworld]

[thunderstruck9]

Wole Lagunju (Nigerian, b. 1966), Spirit Rites, 2017. Oil on canvas, 150 x 122 cm.

via jareckiworld

[poetryconcrete]

Hilliard Homes, architecture by Bertrand Goldberg, 1963, in Chicago.

[theeducatedfieldnegro]

“This is dedicated to the lover in you.”

Sleepy Brown, I Can’t Wait (2004).

[itsmattferran]

Mos Def interviewed by Miles Marshall Lewis for The Fader, Spring 2000 issue.

[6i]

[al-ashouti]

[onedirectionfacingmecca]

Mona Hatoum | Waiting is Forbidden, 2006-08.

[pandanarium]

the trauma of the nightmare does not simply consist in the experience within the dream, but in the experience of waking from it. It is the experience of waking into consciousness that, peculiarly, is identified with the reliving of the trauma. And as such it is not only the dream that surprises consciousness but, indeed, the very waking itself that constitutes the surprise: the fact not only of the dream but of having passed beyond it. What is enigmatically suggested, that is, is that the trauma consists not only in having confronted death but in having survived, precisely, without knowing it. What one returns to in the flashback is not the incomprehensibility of one’s near death, but the very incomprehensibility of one’s own survival. Repetition, in other words, is not simply the attempt to grasp that one has almost died but, more fundamentally and enigmatically, the very attempt to claim one’s own survival. If history is to be understood as the history of a trauma, it is a history that is experienced as the endless attempt to assume one’s survival as one’s own.

Cathy Caruth, ‘‘Unclaimed Experience’’ – writing about Freud’s interpretation of trauma and nightmares. Pg 77. (via pandanarium)

[onedirectionfacingmecca]

HI

[blackrockandrollmusic-blog]

B. B. King, Defining Bluesman for Generations, Dies at 89

Mr. King married country blues to big-city rhythms and created a sound instantly recognizable to millions: a stinging guitar with a shimmering vibrato, notes that coiled and leapt like an animal, and a voice that groaned and bent with the weight of lust, longing and lost love.

“I wanted to connect my guitar to human emotions,” Mr. King said in his autobiography, “Blues All Around Me” (1996), written with David Ritz.

In performances, his singing and his solos flowed into each other as he wrung notes from the neck of his guitar, vibrating his hand as if it were wounded, his face a mask of suffering. Many of the songs he sang — like his biggest hit, “The Thrill Is Gone” (“I’ll still live on/But so lonely I’ll be”) — were poems of pain and perseverance.

The music historian Peter Guralnick once noted that Mr. King helped expand the audience for the blues through “the urbanity of his playing, the absorption of a multiplicity of influences, not simply from the blues, along with a graciousness of manner and willingness to adapt to new audiences and give them something they were able to respond to.” [Read More]

[2000-lightyearsfromhome]

[northmagneticpole]

Cuba, 1993-Alex Webb

[stupidtunes]

Visit Original Link

Body and Soul (feat. Tony Bennett) | Amy Winehouse

[brandonousley]

“But who am I to doubt, or question the inevitable being…for these are but a few discoveries we’ve found inside the secret life of plants…”

Stevie in the garden. 1979. 

[hannahmagazine]

[kawrage-deactivated20160618]

[mideastcuts]

Filmacting students during a concentration exercise in the private film acting school of Amin Tarokh in Tehran, in 2003. A course in the school lasts about 8 months and is lectured by various well known actors. A lot of the popular actors in Iran came out of the school of Amin Tarokh. Photo by Kia Wiendenhoefer / Alexia Foundation