A venticinque anni ancora ossessionata dai bullet journal (e ancora incapace di farne uno decente).

titsay

ellievsbear
Sade Olutola
wallacepolsom
Sweet Seals For You, Always
RMH
Alisa U Zemlji Chuda
Misplaced Lens Cap
sheepfilms
dirt enthusiast
trying on a metaphor

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Show & Tell

Andulka
he wasn't even looking at me and he found me

Product Placement
almost home
NASA
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@tonsille
A venticinque anni ancora ossessionata dai bullet journal (e ancora incapace di farne uno decente).

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Hats off to you. An anonymous fear submitted to Deep Dark Fears - thanks!
My new book “The Creeps” is available now from your local bookstore, Amazon, Barnes & Noble, Book Depository, iBooks, IndieBound, and wherever books are sold. You can find more information here.
Io e la mamma siamo amiche su Pinterest così ci guardiamo le bacheche di arredamento a vicenda. La mia è più bella.
What constitutes adulthood has never been self-evident or value-neutral. Queer lives follow their own temporal logic.
#me

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I have dark scars on my chin, because of facial hair. It is painful and has caused me a lot of psychological pain. It takes a lot of time and money to keep it under control. And it gave me scars. In time, I have learned not to be ashamed of it. To respect my body and take care of it. Not cover it with make up every single day. Let it grow for a few days if it’s infected and my skin needs to heal. Not to be ashamed of it. While it is a relatively small thing, it took time and a lot of psychological work. Today, I was told that maybe “you should put some concealer on it, you know, when you’re with people.”
Are people going to be offended by my scars? By my facial hair? By my body? What is in a scarred chin that is offensive, or unshowable, or uncomfortable? We should just stop covering things up. It’s our bodies. The big things and the small things. Get over yourselves.
http://ift.tt/2svdVno
I want you flat on your back. Helpless, tender, open with only me to help. And then I want you strong again. You’re not going to die. You might wish you’re going to die, but you’re not going to. You need to settle down a little.
Emile Vernon x Flowers
1, 2, 3, 4, 5, 6

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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Mi sento vecchia perché ho dei rimpianti che mi spezzano il cuore come fossi bambina. Come aver perso gli occhiali da sole che mi avevi regalato per Natale. Il tuo primo regalo.
Io di quell’estate lì ricordo alcune cose. Ricordo il balcone del quarto piano, quello da cui il tramonto si vedeva bene. Ricordo Sebastiano sul balcone, una sera, che ascoltava la musica mentre osservava il temporale, con tutte le luci spente. E ho preso la sedia, e mi sono seduta accanto a lui, e ho solo guardato la pioggia pesante. C’era poi Elisa, che andava e veniva di lì, e Anna, che rideva con noi, e poi ha deciso di andarsene e basta. E il vino da pochi soldi, e la birra, e il formaggio morbido sui cracker. Un bacio brutto con un tizio che mi piaceva un po’. E la mattina mi svegliavo presto, nuda perché faceva caldo, e restavo ad osservare un po’ i punti di luce che filtravano le tapparelle, le righe belle odiate da quella persona che mi mancava. I concerti, la scrivania immensa, il latino, Elisa e George Ezra, Sebastiano e le tapparelle abbassate, la vita che mi scorreva attraverso e il caldo che mi appiccicava la pelle alla sedia. Avevo prestato il mio vestito rosso a Francesca, perché doveva vedere uno.
Ma li faccio i capelli rosa, li faccio?
Che stupida la gelosia per le cose del passato. Sarà che, in quella stanza lì dove ora c’è un’altra persona, avevo trovato qualcosa di buono in me. E ora non so dove sia.

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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Ho prenotato taglio e colore gratuito ad una scuola di parrucchieri super hip. DIVENTERÒ MIRANDA JULY IL SOGNO DI UNA VITA SI REALIZZA.
The body is never in the present, it contains the before and the after, tiredness and waiting. Tiredness and waiting, even despair are the attitudes of the body. No one has gone further than Antonioni in this direction. His method: the interior through behaviour, no longer experience, but ‘what remains of past experiences’, ‘what comes afterwards, when everything has been said’, such a method necessarily proceeds via the attitude or postures of the body.
Gilles Deleuze, Cinema II (via exhaustedscreen)