was listening to my old playlist and caught the vibe 💃🥀💋
AnasAbdin
I'd rather be in outer space 🛸

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shark vs the universe
Lint Roller? I Barely Know Her

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Acquired Stardust
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izzy's playlists!
styofa doing anything

@theartofmadeline
YOU ARE THE REASON
he wasn't even looking at me and he found me

Kaledo Art
cherry valley forever

Love Begins
todays bird

oozey mess
hello vonnie
Misplaced Lens Cap
seen from United States
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seen from Malaysia
seen from Malaysia
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seen from United States
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seen from Malaysia
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seen from Jamaica

seen from United Kingdom
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@vexcorvine
was listening to my old playlist and caught the vibe 💃🥀💋
Lee James McKnight
Irish Artist living in Toronto, Canada.
Digital edit using 𝘗𝘪𝘦𝘳𝘳𝘰𝘵'𝘴 𝘌𝘮𝘣𝘳𝘢𝘤𝘦 by Guillaume Seignac (circa 1900) x 𝘔𝘢𝘳𝘺 𝘔𝘢𝘨𝘥𝘢𝘭𝘦𝘯𝘦 𝘪𝘯 𝘵𝘩𝘦 𝘊𝘢𝘷𝘦 by Hugues Merle (1868).
me on a regular streaming site: what do you MEAN you don’t have this 1948 movie
Old movies that suck and are awful are great, but new movies that suck and are awful are stupid. Hope this helps
i am massively overdue for a very very good week where not a single bad thing happens and everything is easy
reblog to give prev a very good week where not a single bad thing happens and everything is easy
"Love Letter" by artist Rebeca Fleur.
GO AWAY !! LEAVE ME ALONE !!
instagram | bluesky | patreon | prints | stickers
I realized I never really posted this guy anywhere. I made it, along with a couple of other designs, for an event that my friend's library hosted with our local printshop :-) They just did a second run.
Don't bend; don't water it down; don't try to make it logical; don't edit your own soul according to the fashion. Rather, follow your most intense obsessions mercilessly. Only if you do that can you hope to make the reader feel every particle of what you, the writer, have known and feel compelled to share.
Anne Rice, from the forward to a collection of Franz Kafka's Short Stories
Monty Woolley (August 17, 1888 – May 6, 1963)
HANG IN THERE BABY!! instagram | bluesky | patreon
‼️prints here
i love the phrase "cruel and unusual." not only is what you're doing mean but it's also quite frankly fucking bizarre
Harvey (1950) dir. Henry Koster
if ur lightbulbs are cool toned im leaving
om dina glödlampor har kallt ljus så går jag
“Congrats to drugs for winning the war on drugs” is a phrase that is simply not true at all when you look at what the purpose of it was.
It was not to prevent the spread of drugs, it was to funnel Black people into prison and permanently curtail voting rights, to keep a provisional Jim Crow that could deflect criticism long enough to get the average white moderate to accept it, and to make the average white liberal’s dreams of “reform” still include the same framework.
Felons can’t vote because certain drug crimes were labeled felonies, because those drug crimes could be pinned on Black people and passed by or reduced to a misdemeanor on whites. Because you could cite the amount of (drug) felonies in an area (Black neighborhood) and assign more cops, militarized cops (why it was called a “war”), because you could claim random searches of suspicious individuals (Black people, including children) were necessary. The war on drugs worked. It was never about the fucking drugs.
“You want to know what this was really all about? The Nixon campaign in 1968, and the Nixon White House after that, had two enemies: the antiwar left and Black people. You understand what I’m saying? We knew we couldn’t make it illegal to be either against the war or Black, but by getting the public to associate the hippies with marijuana and Blacks with heroin, and then criminalizing both heavily, we could disrupt those communities. We could arrest their leaders, raid their homes, break up their meetings, and vilify them night after night on the evening news. Did we know we were lying about the drugs? Of course we did.”
- John Ehrlichman, Richard Nixon's domestic policy chief
the spirit is willing but the flesh is so fucking out of it rn. actually the flesh would like to pack it up and leave. it's done with the horrors.
THE LION IN WINTER (1968) — Dir. Anthony Harvey