1. levantineviper:

    The now abandoned House of the Communist Party in Bulgaria 

    vacation destinations

    (via savagenewtimes)

  2. goregirlsdungeon:

    THE PHANTOM OF LIBERTY (1974) directed by Luis Buñuel

    (via gotankgo)


  3. (Source: sleepyevenings, via bootsi)


  4. somehillbilly:

    Dinosaur Jr, “Sludgefeast” (1987).

    (via abloodymess)

  5. 1980 Mercedes-Benz 280 TE by Zender

    (Source: carinteriors, via savagenewtimes)


  6. shines-like-phosphorus:

    People take pictures of the summer
    Just in case someone thought they had missed it
    And to prove that it really existed

    (via kickerofelves)

  7. dragonauta:

    Anton Newcombe

    (via adultgoth)

  8. alternativecandidate:

    Point Blank (1967)

    "Influenced by the French New Wave’s radical formal innovations, the European ennui of Michelangelo Antonioni’s films, and the genre revisionism of Sergio Leone’s spaghetti westerns, Boorman set out to make a thriller that looked and felt like nothing else before it, using widescreen Panavision cinematography, explosive colors, and a multi-layered soundtrack to re-envision the noir picture as highbrow Euro-art film. Whereas noirs generally boast a shadowy, expressionistic interplay between light and dark, Boorman casts most of his film in brilliant daylight and summery colors. Where noir creates a visual and thematic atmosphere of constriction and imprisonment, Boorman shoots everything in expansive widescreen that posits characters in oppressively open spaces and, when more than one person is on screen, at opposite ends of the frame. And instead of noir’s typically convoluted narratives involving plenty of unnecessary exposition, Boorman’s film is a model of silent visual storytelling that broke new ground in non-linear cinematic narrative construction."

    Nick Schager, Slant Magazine

    (via ikaristwin)


  9. givemypoorheartease:

    Philip Glass Ensemble—“Facades”

    Glassworks (CBS 1982).


  10. bainer:

    Tina Brooks - The Waiting Game (1961)

    Tina Brooks’ solo on this absolute ringer of a tune is just too good to have been shelved 41 years.


  11. senilenoun:

    Tobacco | Father Sister Berzerker

    (Source: echoclinic)

  12. "I’m 87 years old…I only eat so I can smoke and stay alive.. The only fear I have is how long consciousness is gonna hang on after my body goes. I just hope there’s nothing. Like there was before I was born. I’m not really into religion, they’re all macrocosms of the ego. When man began to think he was a separate person with a separate soul, it created a violent situation.

    The void, the concept of nothingness, is terrifying to most people on the planet. And I get anxiety attacks myself. I know the fear of that void. You have to learn to die before you die. You give up, surrender to the void, to nothingness.

    Anybody else you’ve interviewed bring these things up? Hang on, I gotta take this call….. Hey, brother. That’s great, man. Yeah, I’m being interviewed… We’re talking about nothing. I’ve got him well-steeped in nothing right now. He’s stopped asking questions.”


    (Source: ciaobellatarr, via coeurdenova)

  13. (Source: rrrotters)

  14. theatlantic:

    Why The Conversation Should Be Required Viewing at the NSA

    Technology—iPhones, Google Glass, tablets, and the like—makes our day-to-day lives easier to quantify than ever. That’s a good thing, in many ways; more information about how people live can help, say, improve healthcare.

    But fiction, from George Orwell’s 1984 to this weekend’s box-office hit Captain America: The Winter Soldier, has long warned us about the ways that data collection can also threaten privacy, freedom, and happiness. The most powerful cautionary tale for the Age of Big Data comes from an unlikely place: Francis Ford Coppola’s The Conversation, which turns 40 today.

    Read more.

    (via wandrlust)


  15. freaksandbeats:

    Pretty Ballerina by The Left Banke

    (via deepseaian)