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@khayali-pulao
SOMALIA.
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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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Itō Jakuchū aka Jakuchū Itō aka Ito Jakuchu aka Jakuchu Ito aka 伊藤 若冲 (Japanese, 1716-1800, Kyōto, Japan) - 紅葉 小 禽 図 (Maple Tree and Small Birds), c. 1765-1766 Ink and Colors on Silk
Schiaparelli F/W ‘20 by Daniel Roseberry
“What does the “right to the city” mean in a fully privatized, digital city, where access to resources is mediated by the swapping of a “smart card” tied to our identity? How can one effectively exercise it when the infrastructure is no longer in public hands and it’s corporations that determine the terms of access – including the terms on which the protest against them is to unfold? How can cities still claim to be spaces of becoming, contestation, and anonymity when techniques such as algorithmic regulation seek to resolve all conflicts in realtime while imprisoning us in the straightjacket of austerity? Without a parallel fight for technological sovereignty, a fight to protect the right to the city loses much of its potency.”
— Evgeny Morozov and Francesca Bria, Rethinking the Smart City (via probablyasocialecologist)
Anthony interviewed Calypso Rose who is a pioneering woman in calypso music and Caribbean music in general. I saw this documentary on her that is well worth checking out and shows what a phenomenal woman she is. I am so glad Anthony had her on the show.

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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Campanella-sp. -Steve Axford
Neoclassical lapis lazuli cameo dated to the 19th century, set in a modern gold ring. The cameo depicts the head of a nymph or a goddess. Source: Barakat Gallery Store.
Derek Jarman, Chroma
“A long Sunday afternoon of winter is the hardest thing to face, a kind of death in slow motion, an unmoveable boredom, or, worse, an abyss of anxiety.”
— Etel Adnan, Paris, When It’s Naked
Suit (1992) by Lorna Simpson.

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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Lorna Simpson, Darkening, (2019) at Hauser & Wirth.
Carlos Estévez — Long Distance Relationships (oil and watercolor pencil on canvas, 2013)
FOR A FRIEND IN TRAVAIL by Adrienne Rich
Waking from violence: the surgeon’s probe left in the foot paralyzing the body from the waist down. Dark before dawn: wrapped in a shawl, to walk the house the Drinking-Gourd slung in the northwest, half-slice of moon to the south through dark panes. A time to speak to you.
What are you going through? she said, is the great question. Philosopher of oppression, theorist of the victories of force.
We write from the marrow of our bones. What she did not ask, or tell: how victims save their own lives. That crawl along the ledge, then the ravelling span of fibre strung from one side to the other, I’ve dreamed that too. Waking, not sure we made it. Relief, appallment, of waking. Consciousness. O, no. To sleep again.
O to sleep without dreaming.
How day breaks, when it breaks, how clear and light the moon melting into moon-colored air moist and sweet, here on the western edge. Love for the world, and we are part of it. How the poppies break from their sealed envelopes she did not tell.
What are you going through, there on the other edge?
Death of Messalina (details) by Francesco Solimena, c. 1704-1712.
I've missed this website
Kerry James Marshall A LITTLE ROMANCE 1990

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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Razan Idris’ crucial thread on contexts and updates on the #SudanUprising, and what non-Sudanese can do to support. Please signal boost.
“I’m not questioning anyone’s right to live. I’m saying we must observe the implications of our lives. If what we are talking about is feminism, then the personal is political and we can subject everything in our lives to scrutiny. We have been nurtured in a sick, abnormal society, and we should be about the process of reclaiming ourselves as well as the terms of that society. This is complex. I speak not about condemnation but about recognizing what is happening and questioning what it means. I’m not willing to regiment anyone’s life, but if we are to scrutinize our human relationships, we must be willing to scrutinize all aspects of those relationships. The subject of revolution is ourselves, is our lives.”
— ‘SADOMASOCHISM: NOT ABOUT CONDEMNATION,’ An Interview with Audre Lorde (via salemwitchtrials)