Today's Document
TVSTRANGERTHINGS
Sade Olutola


izzy's playlists!
Noah Kahan

Origami Around

if i look back, i am lost
Stranger Things

pixel skylines

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The Stonewall Inn
Show & Tell
let's talk about Bridgerton tea, my ask is open
2025 on Tumblr: Trends That Defined the Year
Misplaced Lens Cap
Monterey Bay Aquarium
Mike Driver


oozey mess
seen from Singapore
seen from United States

seen from Italy
seen from Bangladesh
seen from United States
seen from Ecuador

seen from Netherlands

seen from TĂźrkiye
seen from United Kingdom

seen from France

seen from Philippines
seen from Czechia
seen from Mexico
seen from Australia
seen from Jordan
seen from Brazil
seen from Australia
seen from Singapore

seen from China
seen from Trinidad & Tobago
@silfarione

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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Photo by Cheney Orr.
Istanbul by Ara Gßler, 1958.
Inner Visions by Christian Lichtenberg.
Brasilia by Elliott Erwitt, 1961.Â

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Two People Relaxing On Seine Border On August 1938 by Keystone-France.
Saint-Martin, Paris. Photo by Peter Turnley, 1984.
Workers on the Blackpool Tower, 1934.
Workers on the struts of Blackpool Tower during the repair work in August 1934. Blackpool is located in north west and one of the most popular seaside resorts in the UK. (Fox Photos/Getty Images)
A Perfect Night.
Central Park, photo by Inge Morath, 1960s.

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Chaeyeon and Her Pink Things, photo by JeongMee Yoon.
New York, photo by Joel Meyerowitz.
Flying Foxes by Trent Parke. Mataranka, Outback Northern Territory, Australia 2004.
Ready, steady
Liking isnât helping

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Pablo Casals playing the cello, photo by Yousuf Karsh, 1954.
âIn the Abbey de Cuxa in Prades, I spent several glorious hours with the master of the cello. Our rapport was instantaneous - he trusted me to carry his cherished instrument. I was so moved on listening to him play Bach that I could not, for some moments, attend to photography. I have never photographed anyone, before or since, with his back turned to the camera, but it seemed to me just right. For me, the bare room conveys the loneliness of the artist, at the pinnacle of his art, and also the loneliness of exile.
Years later, when this portrait was on exhibit at the Museum of Fine Arts, Boston, I was told that an elderly gentleman would come and stand in front of it for many minutes each day. When the curator, by this time full of curiosity, ventured to inquire gingerly, âSir, why do you stand day after day in front of this portrait?â he was met with a withering glance and the admonition, âHush, young man, hush - canât you see, I am listening to the music!â -Â Yousuf Karsh.
Photo by Alen MacWeeney.