brushing off the dust
Music Player Code
Track: Toxic (originally by Britney Spears)
Artist: Melanie Martinez
Plays: 1564039



001. Toxic | Melanie Martinez

I took a sip from a devil’s cup
It’s taking over me 




“It’s difficult in times like these: ideals, dreams and cherished hopes rise within us, only to be crushed by grim reality. It’s a wonder I haven’t abandoned all my ideals, they seem so absurd and impractical. Yet I cling to them because I still believe, in spite of everything, that people are truly good at heart.”

Angela Bassett as Marie Laveau in American Horror Story: Coven



The next time you see someone with jewelry that says “trust no man,” don’t judge them for their “man hating” or “bougie” ways. Rather, commend them for their superb taste in music.

“Trust no man” is actually a reference to a reference to a 1926 song of the same name by Gertrude “Ma” Rainey, a Georgian and African-American pioneer of blues music. 

I want all you women to listen to me

Don’t trust your man no further than your eyes can see

I trusted my man with my best friend

But that was a bad bargain in the end

A feminist before there was really a term for it, Rainey was also notorious for getting into trouble with small-town authorities over her “women-only parties.” She was a brazen lady-lovin’ badass well-worthy of a 21st century signal boost.

Ma Rainey literally had a song Prove it On Me Blues where she pretty much said “I’m a big fat lesbian but you’re never going to catch me and if you dont think thats some of the dopest shit i dont wanna talk to you


One thing I’ve noticed people always struggle to get right is the placement of Aang’s tattoos.  I’ve seen mistakes in both fanart and cosplay, so I thought I’d create this handy reference sheet for everyone to use.  Don’t forget that scar if you illustrate him as an adult!  I hope you find it useful!


The Road to El Dorado concept art by Scott Wills




Some of my favorite outfits of the last two weeks. My wardrobe is perfect. #youwouldkillforit

Stop that

How does one acquire this level of cuteness?

A Letter from Peter Ramsey



thanks. thank you so, so very much, dreamworks. i know this is what you do to make money, i know that this may not even come from your heart, i know that this may just be a product, an invention, an item for you to sell, but you have no idea how much you’ve made my spirit lift.

i used to talk to the moon a lot, especially when i felt alone. when i felt like there wasn’t anyone who’d listen, she was always there. it’s nice, to be reminded of this little hope, this little bright feeling in my heart, exists. i haven’t spoken to her in a while, haven’t went outside at night just to look at her beauty. maybe i’ll do just that next time she comes out.

i don’t really believe in the legends, the guardians that you’ve portrayed in characters, but i do believe in the feelings, the emotions that they represent. hope, wonder, belief. it’s what i believe you try to make - a physical representation of those feelings one can’t explain, one can’t prove, but one just feels. those moments of happiness, of fear, of trust.

what i’m trying to say is, thank you. you’ve made me happier in my heart, however pathetic it may sound.

it may never reach you, this thing i’m writing, but you have made the child in me come back. i thought i lost her, the imagination i had when i was a child, but it seems that she was only asleep. and i just hope that whoever you are, the dreamworks production team, any part that you may have taken in producing this movie, however small or big or important or not; you have made me believe in myself. you have brought back my imaginations.

thanks to you, dreamworks, and all related figures.

a child brought back.

To “A Child”…

You know, we all check out the Tumblr sites now and then to see what fans of the movie are up to; our producer Christina saw your letter and was immediately moved to share it with the rest of us.  

I’m so happy that the movie connected with you and that you’ve found some meaning in it; it’s why we made it!  It’s true, this is our job, but let me assure you: it comes very much from our hearts, and our love of these ideas and these characters.  We wanted the movie to be very much about all the things the Guardians represent, but most of all, we wanted it to be about the thing you say you’ve found again: a child’s imagination.  

That’s what drove all of us in the making of the movie.  It’s why we all chose these careers and this life.  The imagination I lived and reveled in as a child made me who and what I am.  It gave me comfort, inspiration, and strength. It was my star to steer by.  I learned that you can dream something, you invest it with some love and passion and there’s a way – no matter how unlikely – of making it a reality. It’s what let me believe I could become an artist, and then a film director when once it all seemed impossible.

Here’s another thing I’ve realized: that imagination never goes away.  We may misplace it, or mistrust it, but it’s there, and it’s struggling to be free.  I honestly think many people – maybe most — fight constantly to suppress their imaginations, to deny the child inside them.  They conform, they live in fear, they become cynical. They think they “know”.  They don’t remember how powerful it can be not to know — but to wonder and dream and come to a bigger kind of knowing as we search for what is real. 

I know it all sounds a little lofty coming from the maker of a Santa Claus movie, but for me, for all of us, it wasn’t just a movie; it was our lives, the lives we lived both out in the world, and in our imaginations.  I’m so happy that what we did touched you, and helped remind you of something you’d missed.  Just remember it was never gone, and never will be.   

So welcome back to it!  (And have a little fun, as a good friend of ours would most certainly tell you.)

My very best to you, and thanks so much for your wonderful letter.

- Peter Ramsey, Director of Rise Of The Guardians



Mudwerks, I thought you might enjoy this! 

I have a personal interest in the migration and evolution of musical forms, and having this pop up on my dash is a great discovery. The women’s dance reminds me of dance forms from Northern Ghana, using a similar call-and-response song pattern. 


McIntosh County Shouters

The southeastern ring shout is probably the oldest surviving African American performance tradition on the North American continent. 

It continues to be performed in a black community in McIntosh County on Georgia’s coast. This compelling fusion of counterclockwise dancelike movement, call-and-response singing, and percussion of hand clapping and a stick beating a drumlike rhythm on a wooden floor is clearly African in its origins and most salient features. The ring shout affirms oneness with the Spirit and ancestors as well as community cohesiveness.

As the tradition developed in slavery times, strong elements of Christian belief were grafted onto it. The ring shout was first described in detail during the Civil War (1861-65) by outside observers in coastal regions of South Carolina and Georgia. Its practice continued in those areas well into the twentieth century, even as its influence was resounding in later forms like spiritual, jubilee, and gospel music, and elements of jazz. By the last quarter of the twentieth century, however, the ring shout itself was presumed to have died out until its rediscovery in 1980 in McIntosh County.

this is excellent


Photographers: Iranian Living Room

Mohammad Mahdi Amya, Majid Farahani, Saina Golzar, Sanaz Hajikhani, Hamed Ilkhan, Ali Kaveh, Mahshid Mahboubifar, Mehdi Moradpour, Sahar Pishsaraeian, Negar Sadehvandi, Hashem Shakeri, Sina Shiri, Morteza Soorani, Nazanin Tabatabaei Yazdi, Ali Tajik

Under the creative direction of Enrico Bossan, head of photography at Fabrica, 15 young Iranian photographers welcome us into the “Iranian Living Room”, a unique space beyond global media and local state. This is where life is lived in private in Iran; it is often where life takes place, in fact.

In this living room both literal and metaphorical, we are privileged to discover multiple interpretations of Iranian reality: cultural differences and similarities, solitude and conviviality, relaxation and excitement, dressing up for an interior life versus dressing up for the street, the rhythms of religious ceremony and the patterns of everyday life.

Where much life on the street is presented by the world’s media as foreign and inhibited, behind these closed doors the lens captures a life that is immediately recognisable in all its untrammelled richness. It takes on a central role as a kind of counterpoint to the contested street, functioning as a new public sphere. It is both far away and close to home. These vignettes are framed by young photographers who, through their own storytelling, might help change the stories told about Iran.

Iranian Living Room is the first of a series of editorial projects self-published by Fabrica. - burn magazine


This adorable brown bear cub photographed by In Cherl Kim was born at Everland Zoo in South Korea.


Colossal Foot 

1st - 2nd Century AD

Roman Imperial

(Source: The British Museum)


"Don’t fight fire with fire," they say, as if we haven’t gotten so sick and tired of nodding politely as we are told that we’re vile, disgusting, that we don’t exist, no matter how much we try to be nice or educate them because "everyone is entitled to their own opinion!" and we have to respect that.

"Don’t fight fire with fire," they say as they try to wedge themselves into our community and get their feelings hurt when we tell them they aren’t part of it, even though groups that actually belong there are denied their rightful place.

"Don’t fight fire with fire," they say, because when our people are getting beaten, abused, and killed because of who we are, we’re prejudiced when we say things like “wow, they suck.”

"Don’t fight fire with fire," they say, because honestly, what they’re asking is that we don’t fight at all.