I'll Take You

cora-hale: “I’m gonna like this post so I can find it later.” Me, always

Tue, 18 Jun 2013 08:05:48 -0400

cora-hale:

“I’m gonna like this post so I can find it later.”

Me, always

Photo

Tue, 18 Jun 2013 07:40:00 -0400

commanderimagination: gothtigger92: eisen-und-blut: are we going to ignore the fact that this...

Sun, 16 Jun 2013 08:34:49 -0400

commanderimagination:

gothtigger92:

eisen-und-blut:

are we going to ignore the fact that this guy

who in one incarnation was raised by a tree

cannot hold the tree pose.

I guess he forgot his roots.

did you just

wintering: An oil-soaked Edward Watson in his dressing room...

Sat, 15 Jun 2013 21:33:19 -0400

wintering:

An oil-soaked Edward Watson in his dressing room after dancing the lead role of Gregor Samsa in the Royal Ballet’s adaptation of Franz Kafka’s novella The Metamorphosis
Photographer: Linda Nylind for the Guardian
*It’s actually a water-based treacle concoction

Photo

Sat, 15 Jun 2013 12:37:34 -0400

authoritydangerheartkilljoy: princerammyz: Ever wonder what...

Fri, 14 Jun 2013 14:57:44 -0400

authoritydangerheartkilljoy:

princerammyz:

Ever wonder what the property across from the Westboro Baptist church looks like.
Not even joking.

suqmydiqtbh: Ezra Miller | PRADA Fall/Winter 2013

Fri, 14 Jun 2013 12:19:18 -0400

suqmydiqtbh:

Ezra Miller | PRADA Fall/Winter 2013

darksilenceinsuburbia: Pietro Cavallini. The Last Judgement...

Fri, 14 Jun 2013 09:37:01 -0400

darksilenceinsuburbia:

Pietro Cavallini. The Last Judgement (detail), 1290s. Fresco. Santa Cecilia in Trastevere, Rome.

Me

Fri, 14 Jun 2013 09:36:47 -0400

youcouldtrys3ars: orbss: “WHATS THIS? WHATS THIS?”

Fri, 14 Jun 2013 08:11:42 -0400

youcouldtrys3ars:

orbss:

“WHATS THIS? WHATS THIS?”

abdulguapo: Abdul Castanada

Fri, 14 Jun 2013 08:05:46 -0400

abdulguapo:

Abdul Castanada

secretlythedoctor: you can do it omg thank you

Thu, 13 Jun 2013 23:42:09 -0400

secretlythedoctor:

you can do it

omg thank you

Photo

Thu, 13 Jun 2013 13:54:43 -0400

Me bending over to pick up my pencil

Thu, 13 Jun 2013 13:33:40 -0400

Me bending over to pick up my pencil

howtobeafuckinglady: AND NONE FOR MICHELLE

Thu, 13 Jun 2013 06:33:47 -0400

howtobeafuckinglady:

AND NONE FOR MICHELLE

Photo

Thu, 13 Jun 2013 06:29:57 -0400

Photo

Wed, 12 Jun 2013 21:05:00 -0400

dillonhilton: The Woman in a Jim Crow Photo By MAURICE...

Wed, 12 Jun 2013 13:29:15 -0400

dillonhilton:

The Woman in a Jim Crow Photo
By MAURICE BERGER

When Joanne Wilson stepped out to enjoy a balmy summer afternoon with her niece in 1956, she stepped into history. The two stood in front of a movie theater in downtown Mobile, Ala., dressed in their Sunday best. But the neon sign that loomed overhead — “Colored Entrance” — cast a despairing shadow.

“I wasn’t going in,” Mrs. Wilson recalled. “I didn’t want to take my niece through the back entrance. She smelled popcorn and wanted some. All I could think was where I could go to get her popcorn.”

That moment was captured by Gordon Parks, who was working on a Life photo essay that documented everyday life among an extended African-American family in the rural South. Although it was not among the final selections published in September 1956 as “The Restraints: Open and Hidden,” the photograph of Mrs. Wilson and her niece, Shirley Diane Kirksey, is among the most compelling of the project.

We usually associate civil rights photography with dramatic scenes of historic events. But this image helps us to understand that the battle for racial equality and justice was waged not just through epic demonstrations, speeches and conflagrations, but also through the quiet actions of individuals.

More than half a century later, the Gordon Parks Foundation honored Mrs. Wilson with a gift of that color print during its celebrity-filled annual awards dinner at the Plaza Hotel in New York City. [Continue reading at the New York Times.]

I must have these

Wed, 12 Jun 2013 11:25:41 -0400

I must have these

Photo

Wed, 12 Jun 2013 08:30:58 -0400