
Janaina Medeiros
Cosimo Galluzzi
wallacepolsom
dirt enthusiast
PUT YOUR BEARD IN MY MOUTH

ellievsbear
Aqua Utopia|海の底で記憶を紡ぐ
sheepfilms

Product Placement

Kaledo Art
🪼
will byers stan first human second
hello vonnie

Andulka
noise dept.
Today's Document
todays bird

Discoholic 🪩
Show & Tell
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@yo-yonce

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🦘 The mammals of Australia.. London, Printed by Taylor and Francis, pub. by the author, 1863.. Original source Image description: Illustration from 1863 of three small Australian possums, labeled “Tarsipes rostratus.” They have rounded bodies with soft brown fur and distinct long, pointed snouts. Each possum is perched delicately on slender, leafy branches with finely detailed green leaves and small yellow and red flowers. The composition highlights their elongated, curled tails and tiny paws gripping the branches. The background is plain, focusing attention on the naturalistic depiction of these marsupials in a botanical setting.
Utterly obsessed with these Shakespeare playbook covers from the late 1960s by Paul Hogarth
RESPONSIBILITY FOR YOURSELF MEANS THAT YOU DON’T FALL FOR SHALLOW AND EASY SOLUTIONS
ADRIENNE RICH
‘Love is an organic thing. It rots and softens.’
Words by Clementine Von Radics
Apple commissions are back for a short time! If you’d like some words or lyrics or your own poetry on an Apple send me a DM! 🍎

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cats in dollhouses
You never want to take your lover's presence for granted —not touching in the morning or skipping out on a kiss before leaving home. These small acts, often dismissed, are deeply sacred. Personally I don’t see them just as affection. They are resistance. Because when we stop touching, when we stop looking at each other, really seeing the other, we slowly begin to match the frequency of a world that thrives on coldness—keeping people looking down at phones and being under-touched, under-loved, and under-aroused by life, being fully alive. The smallest gestures matter. Without them, we begin to align with a system designed to keep us under-fed in real intimacy—running cold and stagnant internally. This system of disconnection, stagnation, and exhaustion we live in wants more and more people lacking in arousal, libido, and intimacy, these very low "cold" scarcity, war-like frequencies that are completely unhealthy to female physiology, all human physiology. This ‘coldness’ breeds low arousal, low desire, and low connection. It manufactures disconnection between bodies—between lovers, between the self and the innocence of sensuality and the erotic in everyday life. It prizes productivity over presence and efficiency over emotion. It keeps women ‘cold’ because cold women are bored, complacent and easier to control. They consume more. They buy more. They comply more. They follow the leader more. They dream less and see their natural beauty even lesser. They close up and dry out. That’s because female physiology doesn’t thrive in cold. It stiffens. It closes. It forgets its own loveliness. If we want to end the war out there, we have to end the war within our own bodies, within our own homes, within our own eros. Becoming warmer, curating greater warmth all around. —India Ame’ye
—
Curate Warmth All Around:
Sun —on skin, yoni, buttocks, scalp, and nipples and in the eyes (for the more advanced practitioners)
Express love out loud (little notes, in language, in presence)
Deeply vulnerable heart-connected sex
Listen to music that moves your hips and ass
Dance with abandon
Beauty (noticing beauty in the smallest details of life)
Food shared and made with love and care
People spaces—full of laughter and ease
Energy that flows, not freezes
Wellness that nourishes
Intimacy without fear
Pleasure without guilt
Radiance from within
Sensuality alive and honored
Connection that feels safe and electric
Playfulness as rebellion
Compassion as strength
Empathy as power
Wonder as worldview
Joy as resistance
Erotic innocence reclaimed
Breath deep, slow, and unguarded
Flexibility in body and belief
Abundance in love, not just things —India Ame’ye, Author
'As if an angel dropped down from the clouds’, drawing by William Blake, 1809. Pen and grey ink, watercolour.
Illustration to 'Henry IV, Part I' IV, i, 108-9, formerly in an extra-illustrated second folio edition of Shakespeare (1632)
via British Museum

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this sign i just saw in a bookstore ??
by vegantreats
Dilara Findikoglu, Rotten cherry dress
Kittyinva: 1926 Dancer Edmonde Guydens of the Moulin Rouge in lace. Getty Images.

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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