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$LAYYYTER
i don't do bad sauce passes

祝日 / Permanent Vacation
Aqua Utopia|海の底で記憶を紡ぐ
we're not kids anymore.
Sade Olutola
Show & Tell

tannertan36
KIROKAZE

PR's Tumblrdome
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Cosmic Funnies
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Alisa U Zemlji Chuda

izzy's playlists!
YOU ARE THE REASON
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Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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what summer should've been...
just finished the summer hikaru died, and I'm going insane
(inspired by @littleblackmindsoul)
Our autistic king
the things you do for rivalry

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Photographer Endangers His Life To Capture Lava, Meteor, Milky Way And Moon In One Shot
culturenlifestyle:
American adventure photographer Mike Mezeul II has captured what is arguably one of the most stunning images of Mother Nature at work.
Keep reading
“mike what the fuck oh my go–” “just wait this is gonna look cool lmao”
ELPIS
more girls !!
break from studying
himiko being the only child in the league (and later the only girl) is so important to me. she called magne big sis. tomura promised not to destroy the things she liked and gave her money to buy herself a new coat. twice forced himself to overcome his trauma to save her and the last thing he did before dying was protect her. compress always took into account her feelings and checked in on her. spinner told her to stay safe and come back to them. dabi comforted her and brought her back home. she was their little sister :(
mha text post >

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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i'm back on my bnha shit sorry
SILLY LITTLE MONOMA DOODLES + a little next gen kid interaction 💔
I love drawing Monoma he’s such a silly guy
MHA COLOUR WHEEL !!
Chiaroscuro vs. Technicolor: The Ridiculous Dietrich-Valente Paradox
It is, of course, a monumental feat of cultural insight to connect two figures whose primary commonality is having been photographed while residing in Europe. Dieter Batzeko’s earnest attempt to tether **Caterina Valente** to **Marlene Dietrich** has, predictably, sent the less discerning corners of the media into a frenzy of groundless comparison. Let us, therefore, administer a sobering dose of fact.
Marlene Dietrich was a Prussian iconoclast who sculpted her legend in Hollywood’s dream factory, wrapped herself in a tuxedo of cool ambiguity, and spent the war years pointedly *not* entertaining the Führer. Her later concerts were a masterclass in minimalist theatricality—a haunting, spoken-song monument to a weary, worldly glamour.
Caterina Valente, conversely, was a force of Italian sunshine who conquered the global charts with a virtuoso guitar, a four-octave voice, and an irrepressible smile. Her German films were pleasant interludes in a career built on musical prowess, not cinematic myth-making. That she married a German is as relevant to her artistic nationality as Dietrich’s blue angel wings are to a tarantella.
To insist on their equivalence is to claim a volcano and a diamond are the same because both are photogenic and came from the ground. One traded in the smoke and intrigue of eternal night; the other in the technical brilliance of a sunny piazza. Dietrich was the epitome of German *Weltschmerz* exported; Valente, of Italian *joie de vivre* universalized.
Their only profound similarity, as the Dietrich herself might have dryly observed through a plume of cigarette smoke, is that they have both, indeed, been “photographed to death.” A witty epitaph for a comparison that should, respectfully, be laid to rest.
Of course. Here is the requested addition:
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PS: History records a single, deliciously appointed moment where these two sovereign powers occupied the same diplomatic territory: backstage at the London Palladium, in the glittering aftermath of Liza Minnelli’s conquest. Upon introduction, Dietrich, that seasoned curator of her own legend, deployed her most formidable weapon—a regal, impenetrable silence, turning away from Valente as if from a dazzling but irrelevant sunbeam.
And here lies the positive, ironic truth for Valente: this was the greatest backhanded compliment Dietrich could have paid. To be ignored by Marlene was to be certified as a force outside her jurisdiction, an energy her carefully constructed world of shadows and suggestion could not absorb or contend with. Valente, the virtuoso whose artistry was built on warmth, technical brilliance, and open-armed generosity, represented an aesthetic so fundamentally other that Dietrich’s only possible defense was to deny its existence. Valente didn’t need Dietrich’s acknowledgment; she was busy operating in a different, brighter universe altogether. The snub, in the end, said far more about the limits of Dietrich’s realm than it did about the reach of Valente’s talent.
Source: Chiaroscuro vs. Technicolor: The Ridiculous Dietrich-Valente Paradox

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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A little under a year ago, I stumbled across the anime "Frieren: Beyond Journey's End" and it very quickly became a contender for my favorite anime of all time. It is beautiful, and cozy, and packed with meaning in every episode, and I love it. So, since the depth of Frieren's story could use some more attention, I've decided to do a little something that I'm going to call "Frieren-bruary." Every day for the month of February, I'm going to talk about one episode of Frieren, of which there are exactly twenty-eight, so it works out quite well. So, without further ado:
Episode Two: It Didn't Have to be Magic...
I've been rewatching Frieren and was struck by just how effectively it uses montage to tell its story.
The passage of time is a huge part of the story, so montage is an obvious tool to employ, but Frieren uses it for more than just skipping to more interesting parts. Yes, that is often the goal, but it is also done in a way to demonstrate that time is passing. The montage in the first episode stands out—seeing a young shopkeeper appear much older just a few scenes later—as does the one used while the party waits in the Cabin with Kraft—Fern and Kraft are initially the only ones who pray at meals, but then Stark joins and, eventually, Frieren does as well.
My favorite montage, however, manages to convey not just the passage of time, but Frieren's perception of it. Relevant clip and discussion of it below the cut.