The Cure's Robert Smith in December 1982, taken during a french TV show called "Embûches de Noël", while he was playing with Siouxsie And The Banshees .
Cosimo Galluzzi

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Lint Roller? I Barely Know Her
taylor price
One Nice Bug Per Day

tannertan36
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cherry valley forever
YOU ARE THE REASON
Sweet Seals For You, Always
Keni

祝日 / Permanent Vacation
Xuebing Du

blake kathryn

if i look back, i am lost

pixel skylines
Mike Driver
ojovivo
KIROKAZE

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@alicedelarge
The Cure's Robert Smith in December 1982, taken during a french TV show called "Embûches de Noël", while he was playing with Siouxsie And The Banshees .

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“If you light a candle in the darkness, you tend to attract a lot of strange people. The Helvete audience was a mixed group of people who wanted to be something - the typical wannabes - and people who really had something to offer, who had good projects and were making really good music. Øystein was building this thing around himself: he established the shop, went on with the label, signed on bands on the label trying to make some progress on things. There were of course people around that didn’t look at Øystein as the main figure in the genre, but most people did. I never looked at him in that way because we were friends since we were young, and he never was Euronymous when we met. We had some conversations around it; on why he was taking the role so seriously, but that’s what he decided to do…”
Manheim for Born for Burning - The History of Black Metal, by Matías Gallardo, 2026
Note: the date 2026 is in reference to the original source I got it from, the interview itself is older.
“Pain, the loneliest experience, gives rise to sympathy, to love: the bridge between self and other, the means of communion. So with art. The artist who goes inward most deeply — and it is a painful journey — is the artist who touches us most closely, speaks to us most clearly.”
— Ursula K. Le Guin, The Language of the Night
David Lynch
This is was Marius said about the song on insta:
"The lyrics are based on a nightmare I experienced so strongly that the feeling stuck with me for a long time. In the dream, I had to save my son from this spirit that stood and swayed waiting in a basement passage under the twilight darkness of the night. A figure in fluttering jet-black cloak, without a face and his head kind of tilting to the side, sort of listening. It hovered standing, completely still in the same place without a sound, only in anticipation ... tense like a spider, with an invisible web of fear and horror. The thought that struck me in retrospect is, if this had been a true scenario...I would never have been able to stand against the blinding fear that gagged me in the dream. Not even the love for my son was strong enough for that frost of fear. It is about the paralyzing horror of being approached by a spirit who wants to take you down into perdition and be swallowed up by the shadow world of death. And the losing battle against the power of darkness, where you lose yourself and slowly become a part of it, withered skin, hollow and fragile, thin, you slip between the shadows. You have become an eternal servant of the night, for none of the worldly values will you know, ever again."

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Saul Leiter, Untitled, 1950s
The Most Beautiful Boy in the World, 2021
“At first, Euronymous wanted to play more like the style of Napalm Death. He thought that was cool. Me and Dead, we wanted to play something darker, not necessarily that fast and brutal. It was then when we were starting to write the songs on De Mysteriis…that it became some kind of hybrid style between something very fast but also dark and technical. I think that it was the best of both worlds, and we had a great collaboration and worked very well together.”
Hellhammer for Born for Burning - The History of Black Metal, by Matías Gallardo, 2026
Note: the date 2026 is in reference to the original source I got it from, the interview itself is older.
Venetian Wineshop (1898) by John Singer Sargent

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“The thing was that Euronymous started to change very rapidly. I think he actually lost his mind. He seemed kind of obsessed with unrealistic things, he wanted to take things to such extremes that it was impossible. And he was very good at getting people with him, but I think that he clearly lost his mind. He would say things like we aren’t actually humans, but gods. He wanted to be spoken to in a certain way, and he suddenly abandoned his Marxist/Leninist political views into fascism. He was going totally nuts, really.”
Hellhammer for Born for Burning - The History of Black Metal, by Matías Gallardo, 2026
Note: the date 2026 is in reference to the original source I got it from, the interview itself is older.
“Every word has consequences. Every silence, too.”
— Jean-Paul Sartre, Les Temps Modernes, vol 1 (October 1945)
“When we hung around, he was always happy. Like a normal person. He had a black sense of humor, same as me, and we both shared the love for splatter movies, silly cartoons and comic books. I remember him as a happy and very nice, very polite, person. But to strangers he was antisocial, so when other people met him, they thought he was strange because he didn’t look or talk to them at all. And when they talked to him sometimes, if he didn’t want to talk to them, he was just looking down at the floor. We had a lot of good times and we were laughing a lot.”
Necrobutcher/Jørn about Pelle for Born for Burning - The History of Black Metal, by Matías Gallardo, 2026
Note: the date 2026 is in reference to the original source I got it from, the interview itself is older.
The "Russian Path" - Russians were here during WWII. And the Soviet memorial. Grandma told me about this for the first time today.

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Listened to Metal in this forest when I was a teenager. Cradle of Filth, Satyricon, Hecate Enthroned, Siebenbürgen...
La Beauté du diable, 1950