More knotwork around Medb.
#irishmythology #medb #ogham #celticart #celticknots #seanfitzgeraldart #stipple #standingstone #stipple #artwork #sketching #celticmythology #celtic #sword
Aqua Utopia|海の底で記憶を紡ぐ

izzy's playlists!
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@silenceismine
More knotwork around Medb.
#irishmythology #medb #ogham #celticart #celticknots #seanfitzgeraldart #stipple #standingstone #stipple #artwork #sketching #celticmythology #celtic #sword

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Jeez.
I fucking forgot my password but I guess I’m back now.
What did I miss? :)
Please reblog if you don’t want porn blogs to follow you! Made by me. Do not repost/edit/claim as your own.
look, i get that tumblr’s demographic is 85% teenagers and this is all baby’s first social justice experience for most of you, but you guys really need to learn how to differentiate between problematic behavior and irredeemable trash garbage who deserves death
people slip up, people fuck up, people say shit they shouldn’t
it sucks
but it’s human
it’s part of being raised into a patriarchal homophobic racist society and/or being part of a privileged group
and you do it too
stop thinking the world is black-or-white because it isn’t
Is polyamory a cure for….
No but seriously, don’t.
Sometimes people can’t understand that cheating still occurs in polyamory. It’s not about having your cake and eating it too (but in secret, like late night binge eating) because that’s just gonna cause problems.

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Being a millennial is like inheriting a burning house only to be told it’s our fault we can’t handle the heat.
You should share this for people in DC and close to you!!
Black Community we have to be careful. Protect our Girls! Spread this!
IMPORTANT!!!!
Signal Boost!
please reblog to help save lives💕
Then & Now: Kyle MacLachlan and Sherilyn Fenn as Dale Cooper & Audrey Horne.

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Horror Musical Instrument
How an Apocalypse Now Poster Led to Oscar-Winning Costumes for Bram Stoker's Dracula
Francis Ford Coppola said that James V. Hart’s script for their 1992 movie Bram Stoker’s Dracula required the costumes to be the set. By collaborating with graphic designer Eiko Ishioka, Coppola fulfilled that vision and their work together resulted in some of the most memorable costumes ever made for these familiar characters.
This was not the Dracula familiar to audiences from earlier Universal and Hammer vampire films. It would be an adaptation of the well-known legend that was told, Ishioka said, as though everyone had taken acid. Her audacious designs provided much of the film’s drama and otherworldliness. Drawing on a deep well of inspiration, the designer chose a rich color palette and sumptuous fabrics that were sculpted into bold forms and patterns embellished with symbolic details.
Coppola and Ishioka had known each other for almost twenty years when he asked her to be the costume designer for his production. In 1979, she designed a striking Japanese poster series for Apocalypse Now and was coincidentally tapped to design the Japanese edition of Eleanor Coppola’s book Notes: On the Making of Apocalypse Now. Five years later, Coppola executive-produced Paul Schrader’s film, Mishima: A Life in Four Chapters, a highly theatrical, historical drama with Ishioka serving as production designer.
They came back together in 1987 when Coppola directed the Rip Van Winkle episode of the television series “Faerie Tale Theatre,” with Ishioka providing the artistic concepts for production designer Michael Erler. Ishioka’s eerie and moody mise-en-scène complements Coppola’s storytelling, and it was due to this personal and professional history that Coppola turned to Ishioka, someone he knew and trusted, once he determined the importance of costumes to his production of Dracula.
Coppola called Ishioka “a weirdo outsider with no roots in the business,” and it is that very quality that sets her work apart. Their collaboration also allowed her to take advantage of her gift for mixing Eastern and Western cultures, and the result is a decadent, surreal atmosphere through which the richly layered mysteries of each character are unveiled.
Determined to modernize the main character, Ishioka transformed one of the story’s most familiar tropes – the black cape that Dracula uses to shield his actions from the eyes of others. Ishioka banished the expected cape and instead costumed Gary Oldman in a crimson red robe that billows behind him as he prowls about his castle.
A fantastic red suit of armor that resembles a flayed human also contributes to his aura of power. The color of both costumes associates him with the blood that he craves.
Nature was a primary source of inspiration for Ishioka, who injected organic details into many of the film’s costumes. For example, Tom Waits’s character Renfield is confined in a mental hospital in a quilted straightjacket constructed of rough gray fabric that makes him look like an insect.
The peppermint-green party dress worn by Sadie Frost’s character, Lucy Westenra, is embroidered with intertwining snakes as a symbol of her character’s eroticism.
Most memorably, Lucy’s spectacular wedding dress was inspired by the Australian frilled lizard, a creature that unfurls a collar of skin when threatened. In Ishioka’s hands, the lace collar creates the illusion that Lucy’s head is disassociated from her body; her jeweled choker draws attention to her neck, the erogenous zone that is the focus of Dracula’s attention.
Lucy’s costumes reflect her wealth and liberal sexual mores and contrast with those of Winona Ryder’s Mina Murray, a middle-class teacher who lacks Lucy’s sophistication. The contrast is perhaps most obvious in the wedding dress that Mina wears to take her vows to Jonathan Harker, played by Keanu Reeves.
Where Lucy’s wedding dress is a study in texture designed to identify her as a creature not wholly human, Mina’s bridal costume is a sedate Victorian-era garment. Rendered in a soft, gray-green fabric, it reveals her character’s modest nature with its high neckline and structured construction. This dress contrasts sharply with the costume she wears when Dracula finally seduces her.
Revealing and blood red, Mina’s dress features an open neckline and three-quarter length sleeves with romantic open cuffs. Ishioka’s color choice ties the two lovers together in a burst of passion that cannot be contained.
Photo: Ralph Nelson
These drawings, and many more, are part of the Margaret Herrick Library’s Eiko Ishioka papers and can be viewed here.
Information on the film’s Academy Award® nominations and wins can be found here.
what the hell is going on in this country?!
Well damn
Shit has been bad for a while
Right so this lady was smart, if you’re ever in a sedan-style trunk there’s a little pull tab that you can use to get yourself out that is STANDARD in cars built after 2001. It’s the law just like headlights and seatbelts.
if you are in an SUV style vehicle or newer model car you may be able to find the automatic trunk release wire, pull on it, it will pop the trunk
if you can’t find any of that stuff,look for the brake light housing. You will need to pull back the trunk carpeting and feel about. It’s probably bolted in, but some careful wiggling will dislodge it. If people see a goddamn arm waving out of a hole in a car while they poke along I-95 they likely will do something about it
Reblog to save a life….
The story behind The Laundress.
This is so good. -Emily
I find that hard to reconcile with how 18th century dresses had boobs practically hanging out of them. Maybe the chest wasn’t as sexualized as the ankles were back then…
I have a dim memory from back in high school… I think someone once told me that breasts were no big deal back in corsetry-and-necklines-down-to-there days, they were considered a food source for children and that’s it.
But ANKLES. Oh, GOD. ANKLES. The ANKLE was connected to the LEG, which connected to THIGHS, which hid a woman’s SECRET FLOWER. The ankle was the gateway to the secret flower, so it was considered quite a stirring sight!
I have never considered that “leg bone connected to the ankle bone” song as a sexy tune before but
Nike to release “Pro Hijab” for Muslim women in spring 2018
On the heels of its campaign ad featuring Muslim athletes, Nike is taking a stand against discrimination.
The athletic wear company announced the release of the “pro hijab,” Al Arabiya English reported on Monday.
“The Nike Pro Hijab may have been more than a year in the making, but its impetus can be traced much further back, to an ongoing cultural shift that has seen more women than ever embracing sport,” a statement from Nike said, according to Al Arabiya English.
The “pro hijab” is set to be released in spring 2018. Its creation follows years of controversy regarding Muslim women keeping their hair covered during athletic competitions. Read more (3/7/17 11:10 AM)
follow @the-movemnt
Asiya Sport did it first. They also manufacture all their products in the USA, meaning they are an ethical company that doesn’t just use the idea of inclusivity and female empowerment to sell products made from the exploited, outsourced, cheap labour of vulnerable women and girls.
Their mission is “to help enable more Muslim girls & women to be physically active and participate in sports, while upholding their religious and cultural beliefs.”
Let’s support ethical Muslim companies before we reward opportunistic companies that have finally caught on to the money they can make from considering muslim women valuable consumer markets. Shop Here.
Gonna reblog it every time I see it

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imagine Bob Ross painting in the style of Hieronymus Bosch
“this little demon down here is kind of lonely, let’s give him some happy little friends. little demon party.”
what a good day to remember that trans men can be gay and trans women can be lesbians and that cis lesbians can love trans women and cis gay men can love trans men