"you're no one until someone calls you bossy"

 

Publish Date: 4/5/2011

Before Liz Lemon, before "Weekend Update," before "Sarah Palin," Tina Fey was just a young girl with a dream: a recurring stress dream that she was being chased through a local airport by her middle-school gym teacher. She also had a dream that one day she would be a comedian on TV.

She has seen both these dreams come true.

At last, Tina Fey's story can be told. From her youthful days as a vicious nerd to her tour of duty on Saturday Night Live; from her passionately halfhearted pursuit of physical beauty to her life as a mother eating things off the floor; from her one-sided college romance to her nearly fatal honeymoon -- from the beginning of this paragraph to this final sentence.

Tina Fey reveals all, and proves what we've all suspected: you're no one until someone calls you bossy.

(Includes Special, Never-Before-Solicited Opinions on Breastfeeding, Princesses, Photoshop, the Electoral Process, and Italian Rum Cake!)

the perfect storm: two bodies in a warm vessel sailing through space while the world outside is slowly being covered with ice

tomer hanuka

too much good taste can be boring

vlieger & vandam

slurrp~ this never gets old...

one of my guilty pleasures: nicole richie (but definitely not paris - gotta draw a line somewhere, peoples)

the simple life

pink wig, thick ass, give 'em whip lash

illustrated by blake wright

bend over to the front touch toes back dat ass up and down and get low

givenchy haute couture, spring/summer 2011

givenchy haute couture, fall/winter 2010

It’s that there’s a million things that are going wrong and then there’s a million things that are going right. There’s a million reasons to leave and a million reasons to stay. And it’s just not that easy and clear in life.

i think it will always make me feel all blarghasdfhjjkl inside

There is black, which is old, and a black, which is fresh. Lustrous black and dull black, black in sunlight and black in shadow.

LIFE magazine, february 3, 1967

ad reinhardt working on a painting in 1966

photographed by john loengard

blue: the most human color

 

 

numéro china #5

featuring julija steponaviciute

photographed by chad pitman

compare and contrast

 

 

 

 

 

photographed by andrea galvani

oh man, head to toe balmain w/ sexy bed head...

vogue paris, february 2011

featuring daria werbowy
photographed by mario sorrenti
styled by emmanuelle alt

thank god you don't have eyes on the back of your head

limited edition hair clips
handmade & signed by humans since 1982

photographed by tim meier

27: the only constant is change

an enormous last day of life that looks like it feels

 

tree of codes // jonathan safran foer

Tree of Codes is a haunting story with a different die-cut on every page, exploring previously unchartered literary territory. Initially deemed impossible to make, the book is a first — as much a sculptural object as it is a work of masterful storytelling.

Tree of Codes is the story of an enormous last day of life — as one character's life is chased to extinction, Foer multi-layers the story with immense, anxious, at times disorientating imagery, crossing both a sense of time and place, making the story of one person’s last day everyone’s story.

Inspired to exhume a new story from an existing text, Jonathan Safran Foer has taken his favorite book, The Street of Crocodiles by Polish-Jewish writer Bruno Schulz, and used it as a canvas, cutting into and out of the pages, to arrive at an original new story told in Jonathan Safran Foer's own acclaimed voice.

before sunrise

If there's any kind of magic in this world, it must be in the attempt of understanding someone sharing something. I know, it's almost impossible to succeed but who cares really? The answer must be in the attempt.

i l o v e y o u

I love you also means:

I love you more than anyone loves you,

or has loved you, or will love you,

and also,

I love you in a way that no one loves you,

or has loved you, or will love you,

and also,

I love you in a way that I love no one else,

and never have loved anyone else,

and never will love anyone else.
 
// jonathan safron foer

thіѕ іѕ double double, double double combo

proenza schouler, spring/summer 2011 campaign

featuring melissa tammerijn & julia nobis
photographed by willy vanderperre

i wish we could dress this fun in real life

  

  

vogue china, february 2011
featuring gisele bündchen
photographed by patrick demarchelier

dayum girl~~ killing it

numero china #5, january/february 2011 
featuring soyoung kang (강소영)
photographed by tiziano magni

there are three classes of people:

those who see

those who see when they are shown

those who do not see

// leonardo da vinci


jil sander, spring/summer 2011 campaign

featuring daria strokous
photographed by willy vanderperre

we all need someone to look at us

We can be divided into four categories, according to the kind of look we wish to live under:

The first category longs for the look of an infinite number of anonymous eyes, in other words, for the look of the public. That is the case with the German singer, the American actress, and even the tall, stooped editor with the big chin.

The second category is made up of people who have a vital need to be looked at by many known eyes. They are the tireless hosts of cocktail parties and dinners. They are happier than the people in the first category, who, when they lose their public, have the feeling that the lights have gone out in the room of their lives. This happens to nearly all of them sooner or later. People in the second category, on the other hand, can always come up with the eyes they need.

Then there is the third category, the category of people who need to be constantly before the eyes of the person they love. Their situation is as dangerous as the situation of people in the first category. One day the eyes of their beloved will close, and the room will go dark.

And finally there is the fourth category, the rarest, the category of people who live in the imaginary eyes of those who are not present. They are the dreamers.

the unbearable lightness of being // milan kundera

zimoun

 
sound sculptures
by swiss artist zimoun



186 prepared dc-motors, cardboard boxes 60x60x60cm, 2010



111 prepared dc-motors, cardboard boxes 60x60x60cm, 2010



25 prepared dc-motors, filler wire 1.0mm, 2010


these "sculptures" individually already look and sound so interesting and creative. now try playing all three videos at the same time. what does it sound like? siiick.

counting down already to 03 04 05 // 2011

peek

self service, fall/winter 2010

featuring isabeli fontana
photographed by ezra petronio

the little prince

I showed my masterpiece to the grownups, and asked them whether the drawing frightened them. But they answered: "Frighten? Why should any one be afraid by a hat?" My drawing was not a picture of a hat. It was a picture of a boa constrictor digesting an elephant.