Thereās no way this isnāt Depeche Mode lyrics
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@katwangi
Thereās no way this isnāt Depeche Mode lyrics

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A Gnome by Tree Roots, 1928 by Arthur Rackham Oil on canvas, 1928 Private Collection
MJ Rodriguez for Christian Cowan SS22

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Kerouac Magazine: ćć¢ć¦ć©ć¼ćŗć·ć§ć¼ć±ć¼ć¹ Collection Of Innovative Hairstyles From Japanās Harajuku District (1999) Scanned By: @zerocoolarchive
āSHAMPOOā // 1930s OSAMU SHIIHARAĀ ę¤å ę²» [gelatin silver print (solarized) | 17 13/16 Ć 12 3/8ā³]
I think a lot about how we as a culture have turned āforeverā into the only acceptable definition of success.
Like⦠if you open a coffee shop and run it for a while and it makes you happy but then stuff gets too expensive and stressful and you want to do something else so you close it, itās a āfailedā business. If you write a book or two, then decide that you donāt actually want to keep doing that, youāre a āfailedā writer. If you marry someone, and that marriage is good for a while, and then stops working and you get divorced, itās a āfailedā marriage.
The only acceptable āwin conditionā is āyou keep doing that thing foreverā. A friendship that lasts for a few years but then its time is done and you move on is considered less valuable or not a ārealā friendship. A hobby that you do for a while and then are done with is a āphaseā - or, alternatively, a āpityā that you donāt do that thing any more. A fandom is ādyingā because people have had a lot of fun with it but are now moving on to other things.
I just think that something can be good, and also end, and that thing was still good. And itās okay to be sad that it ended, too. But the idea that anything that ends is automatically less than this hypothetical eternal state of success⦠I donāt think thatās doing us any good at all.
varadero beach, 1970ās
Akira Nagasawa Ā é·ę²¢ę Ā Ā - Reborn

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Energy Ecstasy and Your Seven Vital Chakras, Bernard Gunther (North Hollywood: Newcastle Publishing Co., 1983), p107.
Etude quatre mains, lithographies, 1955, Le Corbusier
Yves Klein,Ā Grand Monopink (MP 16), 1960
Pure pigment and synthetic resin on fine canvas mounted on panel 199 x 153 cm Louisiana Museum of Modern Art, Humlebæk, Denmark Photo: © Louisiana Museum of Modern Art. Long-term loan: Museumsfonden af 7. december © Succession Yves Klein c / o ADAGP Paris
Jil Sander ss00 x ss02

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Bjƶrk, 1995 | ph. Steve Gullick
Ā© Steve Gullick
Tishan Hsu, Double Absence, 2016