Purple – The Club (Shlohmo Remix) (1,441 plays)
stlara:

mariacarla boscono by cuneyt akeroglu for antidote ss 14

stlara:

mariacarla boscono by cuneyt akeroglu for antidote ss 14

(via anallover1994)

66lanvin:

l-homme-que-je-suis:

Adrian Cardoso & Alex Pierce  & Cristi Isofii & Gabriel Shinel & Marin & Vitan in “Attack Art” Photographed by Luca Finotti and Styled by Paolo Zagoreo for Fucking Young! Magazine Museum Issue Spring/Summer 2014

PLAYS well with OTHERS………..No.11

66lanvin:

l-homme-que-je-suis:

Adrian Cardoso & Alex Pierce  & Cristi Isofii & Gabriel Shinel & Marin & Vitan in “Attack Art” Photographed by Luca Finotti and Styled by Paolo Zagoreo for Fucking Young! Magazine Museum Issue Spring/Summer 2014

PLAYS well with OTHERS………..No.11

blackbeatnik:

lullabysounds:

MAY WE NEVER FORGET 

Wifey

(Source: fuckyeahrihanna, via aimingatmypedestal)

koreanmodel:

Tiana Tolstoi (half korean/half serbian). Lives in France

koreanmodel:

Tiana Tolstoi (half korean/half serbian). Lives in France

(via cuebae)

bitterandcurt:

geekbap:

note-a-bear:

mermaidheartsongs:

absolutezeronow:

danapolis:

stabra:

after hearing about it through the submission to @angryasiangirlsunited, i checked out the trailer of Lucy and am even more disgusted. and so not surprised. whiteness is getting too old.


the upcoming movie lucy will feature the age-old racist narrative of pure white woman (scarlet johansson) being violated by scary, brown men. and the new white feminist trope of women gaining their power by violently eliminating brown men. who needs the white male savior when we now have white female saviors, taking it into their own hands to save their whiteness from all that non-whiteness. so radical.



My favorite part are the white feminists who are raving about this movie because “strong independent woman yaaaas!!”

i’m just wondering why there are herbs and fruits and vegetables written in a faded, creepy red on a prison-like wall in chinese.  are herbs and fruits and vegetables in chinese supposed to be part of some sort of scare tactics?  or am i missing something here?

HAHAHAHAHA

The above makes this so much better

OMG THIS MOVIE IS BULLSHIT OF THE HIGHEST ORDER THEY COULDN’T EVEN BOTHER TO GET SOMEONE TO WRITE ACCURATE SHIT IN CHINESE ON THE WALL THEY PROBABLY GOOGLED A TAKE-OUT MENU OR SOMETHING THIS IS WHAT A $20MIL BUDGET BUYS IN HOLLYWHITE EVERYONE! 

I just asked a family member to translate this. They came back with “Keep Clean. Apple, scallop & ginger, orange, tomato, grape”

bitterandcurt:

geekbap:

note-a-bear:

mermaidheartsongs:

absolutezeronow:

danapolis:

stabra:

after hearing about it through the submission to @angryasiangirlsunited, i checked out the trailer of Lucy and am even more disgusted. and so not surprised. whiteness is getting too old.

the upcoming movie lucy will feature the age-old racist narrative of pure white woman (scarlet johansson) being violated by scary, brown men. and the new white feminist trope of women gaining their power by violently eliminating brown men. who needs the white male savior when we now have white female saviors, taking it into their own hands to save their whiteness from all that non-whiteness. so radical.

My favorite part are the white feminists who are raving about this movie because “strong independent woman yaaaas!!”

i’m just wondering why there are herbs and fruits and vegetables written in a faded, creepy red on a prison-like wall in chinese.  are herbs and fruits and vegetables in chinese supposed to be part of some sort of scare tactics?  or am i missing something here?

HAHAHAHAHA

The above makes this so much better

OMG THIS MOVIE IS BULLSHIT OF THE HIGHEST ORDER THEY COULDN’T EVEN BOTHER TO GET SOMEONE TO WRITE ACCURATE SHIT IN CHINESE ON THE WALL THEY PROBABLY GOOGLED A TAKE-OUT MENU OR SOMETHING THIS IS WHAT A $20MIL BUDGET BUYS IN HOLLYWHITE EVERYONE! 

I just asked a family member to translate this. They came back with “Keep Clean. Apple, scallop & ginger, orange, tomato, grape”

(via thegoldengirl)

(Source: redmoa, via anallover1994)

chl0e-sevigny:

Let’s talk about Mert and Marcus shooting Luptia for Lancôme

chl0e-sevigny:

Let’s talk about Mert and Marcus shooting Luptia for Lancôme

(Source: howtobeafuckinglady)

yeah omahyra slay

yeah omahyra slay

(Source: dadnoize, via yohjihatesfashion)

66lanvin:

blue-voids:

Graham Dean - Close-Up Kiss, watercolor on paper, 1988


LE grand BAISER………..No.1

66lanvin:

blue-voids:

Graham Dean - Close-Up Kiss, watercolor on paper, 1988

LE grand BAISER………..No.1

ytoob:

caliphorniaqueen:

mightymorphinlightskin:

SQUAAADDD!

vine: word on road

he sounds like a duck

IM SCREAMINGGGGGGGG

(via yohjihatesfashion)

giallolooks:

Trailer for The Babadook, a 2014 Australian film directed by Jennifer Kent - international release date TBD. It’s been described as “a shattering psychological study whose supernatural aspect is a mere catalyst or perhaps even misdirection,” which however “acknowledges the [horror] tropes first, steeping the movie in a century of filmic fantasy and re-appropriating genre iconography as manifestations of the characters’ intensifying dread.” In the same piece, its protagonist, Amelia, is identified as “a new iteration of the tormented female protagonists synonymous with ’60s and ’70s horror, the era Kent most consistently channels…minus the sardonic male perspective.” (x)

I love how ultimately pragmatic this movie is. The message I gathered was: Bad shit happens, and you either live with it or die.

Yeah. Well, that’s a great compliment, Rich, because that’s the reason why I wrote the film. Because I feel we’re all feeling like everyone else is coping and we’re not. We’re all looking on the outside in, at other people’s perfect worlds. You know, you only have to go on Facebook for half an hour to feel like, “Shit, everyone else is together and I’m not!” And I think I was really interested in exploring a character that was presenting to the outside world, “I’m fine, I’m fine, I’m fine.” But then was, you know, drowning inside. And every human being, I’m sure, can relate to that.

Horror is often criticized for its misogyny.

Yeah.

Do you agree with that critique? Is your involvement with it a feminist move? 

I don’t think it’s a conscious, “Oh, I’m going to make this kind of film and I’m going to make it a feminist statement,” or anything like that. But I just think through the nature of who I am, I couldn’t tell a horror story and have a woman just be chased and killed. I watch them and I go, “Ohhh, OK, that’s a really well crafted film.” But, you know, I think, “Come on, I’ve had enough of this.” And I don’t find those kind of heroines that end up seeking revenge on guys and things like the new I Spit on Your Graveparticularly empowering, either. Because it’s just offering a masculine perspective on a kind of feminine problem.

This does not strike me as something a man would have made.

No, no. Why do you think?

Well, because you care so much about the interior life of this woman, this mother, you know?

Yeah. Yeah.

In general, men just don’t care like that, you know?

[laughs] Right! So true. And was that – I’m not going to interview you – but I’m curious if that was a surprise.

It was definitely a surprise. But like I said, the word “horror” just seemed too simplistic when I watched this movie. I love horror. That’s why I rushed to see it as soon as I got the invite. I couldn’t wait. But I was surprised at the issues that the movie was dealing with and how it was really just more of a tragedy and then a triumph, really.

And it’s sort of ungodly that people have to live through. And I don’t judge my characters, generally. Even if they are liars, or they’re not so strong, you know? So I really sat within her skin. I think it comes from my experience as an actor, that I have empathy. And I think as a person I just have empathy for others. But it’s interesting, going back to that idea of different characters for women, especially in horror. There was a great review from Slant… It was a really great review. It talked about how the film felt like an echo of these kind of seventies horror heroines, for want of a better word. But not with the sardonic male P.O.V. And I think that’s a really big complement. I really wanted the audience to have two gentle hands placed around their neck until they felt like, “I can’t breathe. Make this stop.” And then it explodes. So I did. I wanted it to be uncomfortable. I wanted them to feel what it feels like to deny your own experience. (x)

(via kawahineaihonua)


Undercover Fall/Winter 2002

Undercover Fall/Winter 2002

(Source: archivings, via jenniferlopezoficial)

aerbor:

"Many miners are migrants coming from rural areas to take better paid jobs. Unlike countries who have a long history in coal mining like the US or Britain, these workers do not have a mining background and therefore have not a developed mining culture. Without this support, the experience can prove isolating for the workers and difficult esspecially in terms of health and safety awareness. The government has problems ensuring that mines adhere to the regulations that they have set out. Smaller mines tend to have the worst safety standards. Datong, China." Ian Teh

aerbor:

"Many miners are migrants coming from rural areas to take better paid jobs. Unlike countries who have a long history in coal mining like the US or Britain, these workers do not have a mining background and therefore have not a developed mining culture. Without this support, the experience can prove isolating for the workers and difficult esspecially in terms of health and safety awareness. The government has problems ensuring that mines adhere to the regulations that they have set out. Smaller mines tend to have the worst safety standards. Datong, China." Ian Teh

(via jenniferlopezoficial)

(Source: mpdrolet, via jenniferlopezoficial)