Kid gets a banana as a prank gift from his parents on his birthday. Look at his excitement. This kid is my hero. 

Kid gets a banana as a prank gift from his parents on his birthday. Look at his excitement. This kid is my hero. 

(via weight-a-second)

dynamoe:

Funny story I have that phone (in my parents attic.)

ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).

ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio

Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).

(via wilwheaton)

dailyactress:

Jessica Lange, 1977
teachingtoday:

tribecafilm:

Simply the best.
bellecs:

Armand teaches Albert how to spread mustard on his toast like a straight man.


I love this movie.  And I love how upset Albert gets about piercing the toast
teachingtoday:

tribecafilm:

Simply the best.
bellecs:

Armand teaches Albert how to spread mustard on his toast like a straight man.


I love this movie.  And I love how upset Albert gets about piercing the toast
teachingtoday:

tribecafilm:

Simply the best.
bellecs:

Armand teaches Albert how to spread mustard on his toast like a straight man.


I love this movie.  And I love how upset Albert gets about piercing the toast
teachingtoday:

tribecafilm:

Simply the best.
bellecs:

Armand teaches Albert how to spread mustard on his toast like a straight man.


I love this movie.  And I love how upset Albert gets about piercing the toast
teachingtoday:

tribecafilm:

Simply the best.
bellecs:

Armand teaches Albert how to spread mustard on his toast like a straight man.


I love this movie.  And I love how upset Albert gets about piercing the toast
teachingtoday:

tribecafilm:

Simply the best.
bellecs:

Armand teaches Albert how to spread mustard on his toast like a straight man.


I love this movie.  And I love how upset Albert gets about piercing the toast

teachingtoday:

tribecafilm:

Simply the best.

bellecs:

Armand teaches Albert how to spread mustard on his toast like a straight man.

I love this movie.  And I love how upset Albert gets about piercing the toast


Ilana: Dude, I would follow you into hell.Abbi: I would take you on my shoulders, like, I’d strap you up and I’d be like, “Let’s go through hell”

Britt. Someone else made the left shoe show.  
Ilana: Dude, I would follow you into hell.Abbi: I would take you on my shoulders, like, I’d strap you up and I’d be like, “Let’s go through hell”

Britt. Someone else made the left shoe show.  
Ilana: Dude, I would follow you into hell.Abbi: I would take you on my shoulders, like, I’d strap you up and I’d be like, “Let’s go through hell”

Britt. Someone else made the left shoe show.  
Ilana: Dude, I would follow you into hell.Abbi: I would take you on my shoulders, like, I’d strap you up and I’d be like, “Let’s go through hell”

Britt. Someone else made the left shoe show.  
Ilana: Dude, I would follow you into hell.Abbi: I would take you on my shoulders, like, I’d strap you up and I’d be like, “Let’s go through hell”

Britt. Someone else made the left shoe show.  
Ilana: Dude, I would follow you into hell.Abbi: I would take you on my shoulders, like, I’d strap you up and I’d be like, “Let’s go through hell”

Britt. Someone else made the left shoe show.  
Ilana: Dude, I would follow you into hell.Abbi: I would take you on my shoulders, like, I’d strap you up and I’d be like, “Let’s go through hell”

Britt. Someone else made the left shoe show.  
Ilana: Dude, I would follow you into hell.Abbi: I would take you on my shoulders, like, I’d strap you up and I’d be like, “Let’s go through hell”

Britt. Someone else made the left shoe show. 

Ilana: Dude, I would follow you into hell.
Abbi: I would take you on my shoulders, like, I’d strap you up and I’d be like, “Let’s go through hell”

Britt. Someone else made the left shoe show. 

(via weight-a-second)

twerkingderp:

iconic
twerkingderp:

iconic
twerkingderp:

iconic
twerkingderp:

iconic
twerkingderp:

iconic
twerkingderp:

iconic
twerkingderp:

iconic
twerkingderp:

iconic
“When you’re working on something, you can work on it like it’s the final greatest thing you ever do, but then as soon as you’re done, you need to move on and realize you can do better.”
inthemess:

George Chamoun’s celebrity photo collages combine current celebrities with actors from Hollywood’s past. 
Shown here are: Marilyn Monroe/Scarlett Johansson, Cary Grant/George Clooney, James Dean/Robert Pattinson, and Audrey Hepburn/Natalie Portman, respectively.
inthemess:

George Chamoun’s celebrity photo collages combine current celebrities with actors from Hollywood’s past. 
Shown here are: Marilyn Monroe/Scarlett Johansson, Cary Grant/George Clooney, James Dean/Robert Pattinson, and Audrey Hepburn/Natalie Portman, respectively.
inthemess:

George Chamoun’s celebrity photo collages combine current celebrities with actors from Hollywood’s past. 
Shown here are: Marilyn Monroe/Scarlett Johansson, Cary Grant/George Clooney, James Dean/Robert Pattinson, and Audrey Hepburn/Natalie Portman, respectively.
inthemess:

George Chamoun’s celebrity photo collages combine current celebrities with actors from Hollywood’s past. 
Shown here are: Marilyn Monroe/Scarlett Johansson, Cary Grant/George Clooney, James Dean/Robert Pattinson, and Audrey Hepburn/Natalie Portman, respectively.

inthemess:

George Chamoun’s celebrity photo collages combine current celebrities with actors from Hollywood’s past. 

Shown here are: Marilyn Monroe/Scarlett Johansson, Cary Grant/George Clooney, James Dean/Robert Pattinson, and Audrey Hepburn/Natalie Portman, respectively.

(via weight-a-second)


Fill in this blank: I’m a badass because… (x)

Fill in this blank: I’m a badass because… (x)
Fill in this blank: I’m a badass because… (x)

(via weight-a-second)