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imagine-create-repeat:

Chocolate Stripe Cake Recipe
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I’m wearing stockings.

(Source: natalie-dormer-daily, via snixjuicetho)

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Tatiana Maslany in Shaun of the Dead tribute (x)

Tatiana Maslany in Shaun of the Dead tribute (x)

(Source: calmmanning, via snixjuicetho)

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All of Leslie’s compliments to Ann

(Source: adumbscotts, via shehasnoears)

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niehaused:

thisoneisforthefandoms:

diamondpop:

Tatiana Maslany dressed as Cosima making fun of Helena’s dancing behind the scenes

What is this show even

No no. That is Cosima on set, actual Cosima on set, I’ll fight you on this

(via fiercezucchini)

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unnervedthenerve:

lolcuteanimals:

Boston Terrier carrying her pup in a backpack.

EXCUSE ME

unnervedthenerve:

lolcuteanimals:

Boston Terrier carrying her pup in a backpack.

EXCUSE ME

(Source: pinterest.com, via shehasnoears)

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mimiwao:

Frida’s last public appearance, on July 2, 1954, at a rally protesting C.I.A. involvement in Guatemala.  Diego is behind her.  Juan O’Gorman to her right.
“What is interesting, is that the Frida Kahlo venerated by American feminists is a very different Frida Kahlo to the one people learn about in Mexico, in the Chicano community. In her country, she is recognized as an important artist and a key figure in revolutionary politics of early 20th century Mexico. Her communist affiliations are made very clear. Her relationship with Trotsky is underscored. All her political activities with Diego Rivera are constantly emphasized. The connection between her art and her politics is always made. When Chicana artists became interested in Frida Kahlo in the ‘70s and started organizing homages, they made the connection between her artistic project and theirs because they too were searching for an aesthetic compliment to a political view that was radical and emancipatory. But when the Euro-American feminists latch onto Frida Kahlo in the early ‘80s and when the American mainstream caught on to her, she was transformed into a figure of suffering. I am very critical of that form of appropriation.”
—Coco Fusco on her Amerindians piece from 1992 with Guillermo Gómez-Peña (via mayalikeskafka)

mimiwao:

Frida’s last public appearance, on July 2, 1954, at a rally protesting C.I.A. involvement in Guatemala.  Diego is behind her.  Juan O’Gorman to her right.

What is interesting, is that the Frida Kahlo venerated by American feminists is a very different Frida Kahlo to the one people learn about in Mexico, in the Chicano community. In her country, she is recognized as an important artist and a key figure in revolutionary politics of early 20th century Mexico. Her communist affiliations are made very clear. Her relationship with Trotsky is underscored. All her political activities with Diego Rivera are constantly emphasized. The connection between her art and her politics is always made. When Chicana artists became interested in Frida Kahlo in the ‘70s and started organizing homages, they made the connection between her artistic project and theirs because they too were searching for an aesthetic compliment to a political view that was radical and emancipatory. But when the Euro-American feminists latch onto Frida Kahlo in the early ‘80s and when the American mainstream caught on to her, she was transformed into a figure of suffering. I am very critical of that form of appropriation.

—Coco Fusco on her Amerindians piece from 1992 with Guillermo Gómez-Peña (via mayalikeskafka)

(via femmewolfprince)

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(Source: sarahmas, via shehasnoears)