ART, Science, Fashion, Music, and Curiosum...

looktotheproles:

1000 ways to die - Cholesterol

america’s down fall.

beardzine:

A Fisherman’s beard.

By this lady.

just thought this was really awesome. 

urhajos:

‘Us and Them’ by Jamie Mitchell

talk about Alien Hand Syndrome… 

eatsleepdraw:

Please check out my DA http://satangelica.deviantart.com/ or like me on Facebook http://www.facebook.com/pages/Satangelica/237157469672723 ! Thank you in advance for your support <3

parcelhare:

Kestrelheart by Laura Buss

thenastygal:

nasty gals do it better in pleats

perfectttt

paleopathology:

Juvenile hydrocephalus 

(Source: scurvyricketssyphilisohmy)

postdubstep:

The Weeknd - Echoes Of Silence Review
When House of Balloons dropped in March last year, it made more of an impact than if that old guy from UP! had landed in your backyard in his own signature house of balloons. Defined by its powerfully crepuscular mood, creative use of samples, and harrowing narratives that peeled back the glamorous veneer of the party lifestyle to reveal a horrible living nightmare, House of Balloons was Abel Tesfaye’s first mark on the R&B scene.
Managing to maintain his identity as something of a question mark whilst ‘High For This’ played over the trailer for the final season of Entourage and twitter was being double teamed by appraisals from Drake and Kanye, Tesfaye smudged the already blurry lines between mainstream and underground R&B and created a new space that he made entirely his own. The way in which things have changed for The Weeknd in the space of nine months is a testament to the power of Internet buzz – levels of which you can’t buy or even accurately predict.
So here it is, the only real point of the hashtag’s existence for days leading up to its release date, a mixtape so fervently anticipated that its download volume crashed the site moments after it was uploaded, the third and final instalment of the “balloons” trilogy. So what is it about The Weeknd that’s so desirable? Is it the mournfully captured morning-after haze through which each melody is filtered? Is it the tightrope that he walks between mystery and brutal sincerity, commanding both but falling completely into neither? Or is it that absolutely everything about Tesfaye and his music is drenched in sexual appeal? And really, isn’t sex one of the most powerful forces at our disposal? Ten seconds in on any Weeknd track and isn’t that exactly what comes to mind? Of course it does, it’s R&B, it’s baby-making music, but what makes The Weeknd so unique is the way he spins his own self-destruction into a tantalising web that catches men and women alike – for different reasons, everyone wants to party with Abel, and while he waxes poetic about sexual promiscuity, corruption, coercion, and desperation, all we’re really thinking is “god DAMN that guy can sing”.
If there’s one consistency that has to be emphasised and praised as loudly as possible, it’s that The Weeknd knows how to put down one hell of an opening track. ‘High For This’, ‘Lonely Star’, and now, in what is his most audacious move to-date, a cover of ‘Dirty Diana’ (‘D.D.’) in which Tesfaye channels Michael Jackson with a striking vocal resemblance and wild confidence. Given that the song is about an aggressive groupie, it’s more than thematically fitting in both Echoes of Silence and the trilogy as a whole, throughout which he lays down some inexorable opinions about the kind of women who want to “party” with him.
After ‘D.D’ – heavy, industrial, and brutal in almost every way – melts away into distortion, ‘Montreal’ kicks in and he beings crooning something in French about girls and crying. That’s The Weeknd for you; sincerity at its most hypnotising, sinister at its most charming, and loneliness at its most accessible.
The production appears to be a combination and development of House of Balloons’ subtle slow-jam expertise and the more industrial experimentation of Thursday. Having taken the best of both, Abel now seems confident in where to take risks (‘XO/ The Host’, ‘Initiation’) and where to keep it simple and let his aching falsetto do its thing (‘Same Old Song’, ‘Next’).
Clams Casino lends his signature dreamscape to ‘The Fall’, layering jarring industrial noises over whirring synths, which ends up sounding more like the inner workings of an intergalactic scrapyard than a slick thick smoke-cloud wooziness you may have expected from one such collaboration. Still, in keeping with the previous two releases, the overall atmosphere of Echoes of Silence is a fistful of opioids washed down with a concoction of allure, excess, menace, and love. Another guest appearance comes from newest “Taylor Gang” member Juicy J of Three 6 Mafia fame, who pipes up about wet panties, weed, and Christmas at the end of ‘Same Old Song’ for no apparent reason.
The trilogy is brought to a close by the four minute funeral march of the eponymous track, which showcases Tesfaye at his most raw and exposed. With just piano and subtle ambient sounds for accompaniment, he is confronted by one of the many women who come but fail to go, who grapple desperately to strings without really understanding that it was a prerequisite to leave them unattached. The final words disclose a sentiment which is laid bare and blunt by her, but shared by Tesfaye and expressed throughout the whole trilogy, though it is often lost in veils of cynicism and confidence and found at the bottom of plastic cups or on top of glass tables  – “Would you end your night with me/ Don’t you leave me all behind/ Don’t you leave my little life” and here, finally unveiling the pain in the party and the after party, the emptiness in immediate fulfilment, the echoes of silence in a room full of people.

9.0
By Emma Garland

very sexy looking men. 

Antique English surgical instruments and case, circa 1650

even medical instruments looked better vintage <3

(Source: browndresswithwhitedots)