1. They asked me to design it, and then they asked me to do some shots with the character in it…Originally it was supposed to be Grace Jones…Grace Jones was a very popular singer at the time, and I wanted her to be the basis of the character, because I thought that was realistic. And then, all of a sudden, it became Bo Derek in 1981 because of the movie 10. And that’s when I said “That’s it. They’ve sold out for some whitebread blonde chick.” She was very hot at the time, but I thought she wasn’t as realistic a choice as Grace Jones was…If I thought of a nightclub chick, that was Grace Jones.

    John Romita Jr. (x)

    (Source: phyllium, via unimpressed2chainz)

     
  2. paleyontology:

    Kelela by Paley Fairman

    Foam Magazine, March 2014 issue.

    (via unimpressed2chainz)

     
  3. Glitterbug (Derek Jarman, 1994)

     
  4. oh hey did you know I wrote about the landscapes in Jillian & Mariko Tamaki’s new book? because I wrote about the landscapes in Jillian & Mariko Tamaki’s new book

     
  5.  
  6. nickminichino:

    hungryghoast:

    malformalady:

    Dental phantom, circa 1930. Dental students worked on these for practice. The rivets protruding from the facial area would anchor a rubber face to make it more “human” to work on.

    yeah sure let’s just practice some dental work on Judge Death over here

    I AM THE JAW

     

  7. "I’m into having sex, I ain’t into making love."
    — Michel Foucault, introduction, The History of Sexuality
     
  8. vgjunk:

    Vegeta offers some sound advice in Dragon Ball Z 2: Super Battle, arcade.

    (via dixiewetsworth)

     
  9.  

  10. "Americans live, still, in an atmosphere of phantasmagorical genocide—we kill each other with looks, judgments, the fantasies that white is better than black and that blackness is bestial while being somehow more “humane”—read mentally inferior—than whiteness. But what do those colors even mean? In Walker’s view, they are signifiers about power—the power separating those who have the language to make the world and map it, and those who work that claimed land for them with no remuneration, no hope, and then degradation and death."
    — 

    Hilton Als, "The Sugar Sphinx," The New Yorker, May 8, 2014

    Read Als full take on Kara Walker’s Domino sugar factory installation here.

    (via jalylah)

    (via nickminichino)