isn't it pretty to think so?

from a past we left in a place we knew too well

cinemove:

Chungking Express (1994) dir. Wong Kar Wai

Such a good flick

(via for-reign)

Suppose that, as a reporter, you start going outside of vested interests [interests of corporate and political power]. You will find, first of all, the level of evidence that’s required is far higher; you don’t need verification when you go to vested interests. They’re self-verifying. Like, if you report an atrocity carried out by guerrillas, all you need is one hearsay witness. You talk about torture carried out by an American military officer, you’re going to need video tapes. And the same is true on every issue. I mean, if a journalist quotes an unnamed, high U.S. government official, that suffices as evidence. What if they were to quote some dissident? Or some official from a foreign government that’s an enemy? Well, they’d have to start digging and backing it up. And the reporter would have to have mountains of evidence and expect to pick up a ton of flack. And maybe lose their job and so on. With factors of that kind, it’s very predictable which way [the reporters] are going to go. And reporters generally pick the easy way.

—noam chomsky, understanding power (via definedpleasures)

One of my shift managers just said “she probably wasn’t even raped, she’s probably a feminist”

I hate my job.

Southern Colorado

Southern Colorado

Lykke Li

—Possibility

melancholickait:

So tell me when you hear my heart stop. 

You’re the only one that knows.

newyorker:

Paul Graham visits the Garry Winogrand retrospective at the Met: http://nyr.kr/1mI66Sa

“I love that nothing stopped Garry ethically. You’re not supposed to photograph panhandlers, someone who suffers from dwarfism, or leer at beautiful strange women. He’d just put out his lens and do it.”

Top: El Morocco, New York, 1955. Courtesy of the Metropolitan Museum of Art.

Middle: Coney Island, New York, circa 1952. Courtesy of the Metropolitan Museum of Art.

Bottom: Untitled (Location Unknown), 1963. From the estate of Garry Winogrand, courtesy of Fraenkel Gallery, San Francisco.