brandomarlons:


I don’t think that people generally realise what motion picture industry has done to the American Indian, as a matter of fact, all ethnic groups, all minorities, all non-whites. And people just simply don’t realise, just take it for granted that that’s the way people are going to be presented and these clichés are just, I mean on this network every night, well perhaps not every night, but you can see silly renditions of human behaviour, the leering Filipino houseboy, the wily Japanese, the kook or the gook, black man, stupid Indian. It just goes on and on and on. And people actually don’t realise how deeply people are injured by seeing themselves represented, not so much the adults, who are already inured to that kind of pain and pressure, but children. Indian children seeing Indians represented as savage, as ugly, as nasty, vicious, treacherous, drunken. They grow up only with a negative image of themselves and it lasts a lifetime. 

Marlon Brando on why Sacheen Littlefeather presented a speech on his behalf during his Best Actor win for The Godfather at the 1973 Academy Awards
brandomarlons:


I don’t think that people generally realise what motion picture industry has done to the American Indian, as a matter of fact, all ethnic groups, all minorities, all non-whites. And people just simply don’t realise, just take it for granted that that’s the way people are going to be presented and these clichés are just, I mean on this network every night, well perhaps not every night, but you can see silly renditions of human behaviour, the leering Filipino houseboy, the wily Japanese, the kook or the gook, black man, stupid Indian. It just goes on and on and on. And people actually don’t realise how deeply people are injured by seeing themselves represented, not so much the adults, who are already inured to that kind of pain and pressure, but children. Indian children seeing Indians represented as savage, as ugly, as nasty, vicious, treacherous, drunken. They grow up only with a negative image of themselves and it lasts a lifetime. 

Marlon Brando on why Sacheen Littlefeather presented a speech on his behalf during his Best Actor win for The Godfather at the 1973 Academy Awards
brandomarlons:


I don’t think that people generally realise what motion picture industry has done to the American Indian, as a matter of fact, all ethnic groups, all minorities, all non-whites. And people just simply don’t realise, just take it for granted that that’s the way people are going to be presented and these clichés are just, I mean on this network every night, well perhaps not every night, but you can see silly renditions of human behaviour, the leering Filipino houseboy, the wily Japanese, the kook or the gook, black man, stupid Indian. It just goes on and on and on. And people actually don’t realise how deeply people are injured by seeing themselves represented, not so much the adults, who are already inured to that kind of pain and pressure, but children. Indian children seeing Indians represented as savage, as ugly, as nasty, vicious, treacherous, drunken. They grow up only with a negative image of themselves and it lasts a lifetime. 

Marlon Brando on why Sacheen Littlefeather presented a speech on his behalf during his Best Actor win for The Godfather at the 1973 Academy Awards
brandomarlons:


I don’t think that people generally realise what motion picture industry has done to the American Indian, as a matter of fact, all ethnic groups, all minorities, all non-whites. And people just simply don’t realise, just take it for granted that that’s the way people are going to be presented and these clichés are just, I mean on this network every night, well perhaps not every night, but you can see silly renditions of human behaviour, the leering Filipino houseboy, the wily Japanese, the kook or the gook, black man, stupid Indian. It just goes on and on and on. And people actually don’t realise how deeply people are injured by seeing themselves represented, not so much the adults, who are already inured to that kind of pain and pressure, but children. Indian children seeing Indians represented as savage, as ugly, as nasty, vicious, treacherous, drunken. They grow up only with a negative image of themselves and it lasts a lifetime. 

Marlon Brando on why Sacheen Littlefeather presented a speech on his behalf during his Best Actor win for The Godfather at the 1973 Academy Awards
brandomarlons:


I don’t think that people generally realise what motion picture industry has done to the American Indian, as a matter of fact, all ethnic groups, all minorities, all non-whites. And people just simply don’t realise, just take it for granted that that’s the way people are going to be presented and these clichés are just, I mean on this network every night, well perhaps not every night, but you can see silly renditions of human behaviour, the leering Filipino houseboy, the wily Japanese, the kook or the gook, black man, stupid Indian. It just goes on and on and on. And people actually don’t realise how deeply people are injured by seeing themselves represented, not so much the adults, who are already inured to that kind of pain and pressure, but children. Indian children seeing Indians represented as savage, as ugly, as nasty, vicious, treacherous, drunken. They grow up only with a negative image of themselves and it lasts a lifetime. 

Marlon Brando on why Sacheen Littlefeather presented a speech on his behalf during his Best Actor win for The Godfather at the 1973 Academy Awards
brandomarlons:


I don’t think that people generally realise what motion picture industry has done to the American Indian, as a matter of fact, all ethnic groups, all minorities, all non-whites. And people just simply don’t realise, just take it for granted that that’s the way people are going to be presented and these clichés are just, I mean on this network every night, well perhaps not every night, but you can see silly renditions of human behaviour, the leering Filipino houseboy, the wily Japanese, the kook or the gook, black man, stupid Indian. It just goes on and on and on. And people actually don’t realise how deeply people are injured by seeing themselves represented, not so much the adults, who are already inured to that kind of pain and pressure, but children. Indian children seeing Indians represented as savage, as ugly, as nasty, vicious, treacherous, drunken. They grow up only with a negative image of themselves and it lasts a lifetime. 

Marlon Brando on why Sacheen Littlefeather presented a speech on his behalf during his Best Actor win for The Godfather at the 1973 Academy Awards
brandomarlons:


I don’t think that people generally realise what motion picture industry has done to the American Indian, as a matter of fact, all ethnic groups, all minorities, all non-whites. And people just simply don’t realise, just take it for granted that that’s the way people are going to be presented and these clichés are just, I mean on this network every night, well perhaps not every night, but you can see silly renditions of human behaviour, the leering Filipino houseboy, the wily Japanese, the kook or the gook, black man, stupid Indian. It just goes on and on and on. And people actually don’t realise how deeply people are injured by seeing themselves represented, not so much the adults, who are already inured to that kind of pain and pressure, but children. Indian children seeing Indians represented as savage, as ugly, as nasty, vicious, treacherous, drunken. They grow up only with a negative image of themselves and it lasts a lifetime. 

Marlon Brando on why Sacheen Littlefeather presented a speech on his behalf during his Best Actor win for The Godfather at the 1973 Academy Awards
brandomarlons:


I don’t think that people generally realise what motion picture industry has done to the American Indian, as a matter of fact, all ethnic groups, all minorities, all non-whites. And people just simply don’t realise, just take it for granted that that’s the way people are going to be presented and these clichés are just, I mean on this network every night, well perhaps not every night, but you can see silly renditions of human behaviour, the leering Filipino houseboy, the wily Japanese, the kook or the gook, black man, stupid Indian. It just goes on and on and on. And people actually don’t realise how deeply people are injured by seeing themselves represented, not so much the adults, who are already inured to that kind of pain and pressure, but children. Indian children seeing Indians represented as savage, as ugly, as nasty, vicious, treacherous, drunken. They grow up only with a negative image of themselves and it lasts a lifetime. 

Marlon Brando on why Sacheen Littlefeather presented a speech on his behalf during his Best Actor win for The Godfather at the 1973 Academy Awards

    brandomarlons:

    I don’t think that people generally realise what motion picture industry has done to the American Indian, as a matter of fact, all ethnic groups, all minorities, all non-whites. And people just simply don’t realise, just take it for granted that that’s the way people are going to be presented and these clichés are just, I mean on this network every night, well perhaps not every night, but you can see silly renditions of human behaviour, the leering Filipino houseboy, the wily Japanese, the kook or the gook, black man, stupid Indian. It just goes on and on and on. And people actually don’t realise how deeply people are injured by seeing themselves represented, not so much the adults, who are already inured to that kind of pain and pressure, but children. Indian children seeing Indians represented as savage, as ugly, as nasty, vicious, treacherous, drunken. They grow up only with a negative image of themselves and it lasts a lifetime. 

    Marlon Brando on why Sacheen Littlefeather presented a speech on his behalf during his Best Actor win for The Godfather at the 1973 Academy Awards

    (via talentspast)

    chagalov:

    The Photographer’s Shadow, c1935 -by Olive Cotton
    [Olive Cotton’s shadow is superimposed over Max Dupain, her husband at the time.]

    via JBG

    (via kitschgirl65)

    ecstaticaddiction:

Tanaquil Le Clercq in La Valse, 1951

The waltz rhythms of Ravel’s La Valse sets Balanchine’s choreography in motion. According to the New York City Ballet website, the mood of the ballet is “superficial gaiety mixed with an uncertain feeling of impending catastrophe.” In the film’s archival footage, Tanny dances the soloist role of a woman who is seduced by the figure of death before falling lifeless to the floor. 

ecstaticaddiction:

Tanaquil Le Clercq in La Valse, 1951

The waltz rhythms of Ravel’s La Valse sets Balanchine’s choreography in motion. According to the New York City Ballet website, the mood of the ballet is “superficial gaiety mixed with an uncertain feeling of impending catastrophe.” In the film’s archival footage, Tanny dances the soloist role of a woman who is seduced by the figure of death before falling lifeless to the floor. 

      ecstaticaddiction:

      Tanaquil Le Clercq in La Valse, 1951

      The waltz rhythms of Ravel’s La Valse sets Balanchine’s choreography in motion. According to the New York City Ballet website, the mood of the ballet is “superficial gaiety mixed with an uncertain feeling of impending catastrophe.” In the film’s archival footage, Tanny dances the soloist role of a woman who is seduced by the figure of death before falling lifeless to the floor. 

      (via labelleotero)

      wehadfacesthen:

      Lauren Bacall, 1944, a fashion model before she was a movie star

      (via graceandface)

      realitealafrancaise:

Queen Catherine

      realitealafrancaise:

      Queen Catherine

      smalltalkers:

Virginia Oldoini, countess of Castiglione, mistress of Napoleon III, patron of experimental photography, experimental photographer. She sent this photograph of herself, titled Lady Vengeance, golden dagger in hand, to her husband. 

      smalltalkers:

      Virginia Oldoini, countess of Castiglione, mistress of Napoleon III, patron of experimental photography, experimental photographer. She sent this photograph of herself, titled Lady Vengeance, golden dagger in hand, to her husband. 

      meinthefifties:

      Choreographer Hermes Pan with Fred Astaire, 1937.

      (via eleanorspowell)

      
Muppets/Twin Peaks mash-up series by Justin Lawrence DeVine (sticksstonesandherringbones)

Muppets/Twin Peaks mash-up series by Justin Lawrence DeVine (sticksstonesandherringbones)

Muppets/Twin Peaks mash-up series by Justin Lawrence DeVine (sticksstonesandherringbones)

Muppets/Twin Peaks mash-up series by Justin Lawrence DeVine (sticksstonesandherringbones)

Muppets/Twin Peaks mash-up series by Justin Lawrence DeVine (sticksstonesandherringbones)

Muppets/Twin Peaks mash-up series by Justin Lawrence DeVine (sticksstonesandherringbones)

Muppets/Twin Peaks mash-up series by Justin Lawrence DeVine (sticksstonesandherringbones)

        Muppets/Twin Peaks mash-up series by Justin Lawrence DeVine (sticksstonesandherringbones)

        (via le-plus-beau-des-mensonges)

        
Ian Curtis (15 July 1956 – 18 May 1980) 
"Love will tear us apart"

        Ian Curtis (15 July 1956 – 18 May 1980) 

        "Love will tear us apart"

        (Source : vintagegal, via le-plus-beau-des-mensonges)

        9emeart:

        La Peau du léopard

        Ted Benoit

        una-lady-italiana:

Woman in fur (Kiki de Montparnasse) , 1926. Photo by Aleksandr Grinberg.

        una-lady-italiana:

        Woman in fur (Kiki de Montparnasse) , 1926. Photo by Aleksandr Grinberg.

        mariedeflor:

In the pantheon of Hollywood stars, she’s right up there with the best. She was also one of those amazingly flexible, versatile Hollywood actresses, fully capable of pulling of characters in every Hollywood genre, and left behind just some of the greatest work in Hollywood history. - Claudette Colbert: Queen of the Silver Screen 
mariedeflor:

In the pantheon of Hollywood stars, she’s right up there with the best. She was also one of those amazingly flexible, versatile Hollywood actresses, fully capable of pulling of characters in every Hollywood genre, and left behind just some of the greatest work in Hollywood history. - Claudette Colbert: Queen of the Silver Screen 
mariedeflor:

In the pantheon of Hollywood stars, she’s right up there with the best. She was also one of those amazingly flexible, versatile Hollywood actresses, fully capable of pulling of characters in every Hollywood genre, and left behind just some of the greatest work in Hollywood history. - Claudette Colbert: Queen of the Silver Screen 
mariedeflor:

In the pantheon of Hollywood stars, she’s right up there with the best. She was also one of those amazingly flexible, versatile Hollywood actresses, fully capable of pulling of characters in every Hollywood genre, and left behind just some of the greatest work in Hollywood history. - Claudette Colbert: Queen of the Silver Screen 

          mariedeflor:

          In the pantheon of Hollywood stars, she’s right up there with the best. She was also one of those amazingly flexible, versatile Hollywood actresses, fully capable of pulling of characters in every Hollywood genre, and left behind just some of the greatest work in Hollywood history. 
          - Claudette Colbert: Queen of the Silver Screen 

          (Source : lucynic83, via gelsominas)

          Isabelle Huppert circa 1970s.

          (Source : cybillshepherd)

          everything-kennedy:

John F. Kennedy Jr. aboard his father’s yacht, the “Honey Fitz”, Hyannis Port, August 1963.

          everything-kennedy:

          John F. Kennedy Jr. aboard his father’s yacht, the “Honey Fitz”, Hyannis Port, August 1963.

          (via dustyanswer)

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