• I: Why suits?
• Nick Cave: Gets through a lot of them, due to rapidity and violence of onstage genuflection putting them out at the knees. Can 'do' up to 500 pounds on one at a go. Most importantly, they are the reason why the Bad Seeds look like travelling oboe salesmen from Weimar, Germany and not like an accidental meeting of chain smoking experts. Suits are a minefield: less skilled exponents (Tindersticks, Gallon Drunk) are often left looking like provincial bingo callers.

tippihedrens:

Bette Davis said in an interview with Barbara Walters that her “I’d like to kiss you but I just washed my hair” line in The Cabin in the Cotton (1932) was her all-time favorite movie line.

(via mitzi--may)

(via redlipsandcigaretteburns)

(via nathansummers)

(via cuckoo-song)

lipstickmata:

oh no oh no oh no

(via xunya)

(via monsieur-antichrist)

(via maudelynn)

When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;
How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim Soul in you,
And loved the sorrows of your changing face;
And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.

mitzi—may:

basically, yes.

mira-mirabiliaimages:

“Ship song”

(via justified-and-a-tad-ancient)

likeafieldmouse:

Maurizio Cattelan - Amen (2012-13)

“Amen is Cattelan’s first retrospective after a year of silence and retirement from the art world. On view at Center for Contemporary Art Ujazdowski Castle in Warsaw, Poland, is a selection of the artist’s most recent works in which he explored the deepest areas of human life.

In front of the castle visitors are captured by the hanging child replacing the flag on the pole (Untitled, 2004), questioning society’s sense of responsibility toward the youngest generation.

Inside, the work Mother, a memento from a famous performance at the Vienna Art Biennale in 1999 recalls the search for spiritual values that is common to religion and art while the dying horse and tormented woman compel us to reflect upon the ethical and anthropological dimension of sacrifice, victim and dying.

The exhibition expands beyond the gallery, a part of which can be seen on 14 Próżna St., a former Warsaw Ghetto, in which Cattelan had (controversially) placed the work Him (2001), a statue of Adolf Hitler praying on his knees.

In a Warsaw ravaged by the cataclysmic 20th century, Cattelan’s works take on a particular dimension: they become an artistic commentary on the Catholic credo… What does it really mean to love your enemies? What does forgive for those who trespass against us mean? In evoking the traumas of history, his art represents a difficult challenge to the identity of the Poles: to what extent is our national memory a form of forgetfulness? To what degree does that which we wish to forget determine us and constitute a sui generis form of concealed memory?”

(via metalonmetalblog)

chamanka:

thornsofblackroses: Nick and Blixa from the back of the booklet of “Let Love In”.

(via lilacea)

vintagegal:

Faster, Pussycat! Kill! Kill! (1965)

(via justified-and-a-tad-ancient)