(Source: noelbadgespugh, via daaarrrrr)

psychoshango:

you ever notice how in women’s razor commercials the models’ legs are already completely hairless before they “shave” them

like we can’t even handle showing body hair in a commercial about how to get rid of body hair

(via daaarrrrr)

pseudologia-fantastiica:

earthlyspirit:

wolfs-faye:

halcyonspfenix:

jumpingjackolantern:

aetherbox:

minimalistic-future:

zodiacbaby:

here’s some burning sage to cleanse ur blog of bad energies 

I felt obligated to reblog this

It’d be hilarious if reblogging an image of this actually had the same effect for a tumblr dashboard

let’s find out

Some good juju right here.

Bye bye bad energy!

Let’s cleanse this baby!

why do i feel like i have to reblog this

(via ironyinaname)

jellygod:

Pokémon -Neil Cicierega - Mouth Silence

listen to this

(via ironyinaname)

meet-me-in-europe:

Healy Pass, Ireland

(Source: tinyartshop, via daaarrrrr)

langleav:

Wrote this today, hope you like it! Also, don’t forget to pre-order my new book Lullabies from any major book store. To get a special discount now, purchase online at Amazon,BN.comand The Book Depository. xo Lang

maihudson:

Image from Vsevold Meyerhold, Biomechanics Workshop, 1920

The actors acting in his productions employed a particularly physical method developed by Meyerhold himself which is known as Biomechanics.This technique consisted in a series of exercised that helped the actor release emotional potential through movement. Gerald Raugin in his article “Bodies, Things, and Social Machines” descibes biomechanics as follows:

" Contrary to the psychology of the plot and to an empathetic audience, the core components of biomechanics were the rhythm of language and the rhythm of physical movement, postures and gestures arising from these rhythms, coordinating the movement of the body and bodies with one another. The development of the plot was not to come from “within”, from the psyche or mind, but rather “from outside”, through the movement of the body in space. These components were created through an economy of means of expression, control of bodies and gestures, precision and tempo of movement, speed of reaction and improvisation. Meyerhold’s acting school was not merely a school for gymnastics and acrobatics, but rather attempted to bring the actors to calculate and coordinate their movements before that and beyond it, to organize their material, to organize the body.”

(via daaarrrrr)