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“To love a TV show is to know one of two things: Either it will eventually leave you, or you will eventually leave it. There’s no middle ground for the committed. Once you’re in, you’re in, and you’re going to be in until the thing is canceled or until you lose interest because you’ve either figured out all of the show’s tricks or it’s just not the same anymore. That show you loved more than anything? It will eventually feel sort of old and pointless to you after a while, and you’ll have moved on to some new thing that feels fresher but will inevitably disappoint you somewhere down the line. And so it goes. You’ll someday remember that show you loved with such intensity—it will probably be off the air by this point—and you’ll wonder idly why they don’t make ’em like that anymore. The answer is because you’re not who you were anymore, and you can’t fall for a show like that because you’re no longer the same person.”
Nina Leen—Time & Life Pictures/Getty Images
“The evening phone call is ritual, performed here by Nancy Hamel. Most calls are so long that girls squirm into wonderful variety of stances, postures and attitudes while never once losing the thread of conversation.”
The Invention of Teenagers: LIFE and the Triumph of Youth Culture
“I don’t care what you think about me. I don’t think about you at all.”
— Coco Chanel
“First you’re taught to fear a phantom, a man in black, a man with a knife, a man who’ll pounce in dark alleys. Well-intentioned women—mothers, aunts, teachers—will train you to protect yourself: Don’t wear your hair in a ponytail; it’s easier to grab. Hold your keys in one hand; hold your pepper spray in the other. Avoid dark alleys. When you reach young adulthood, the lessons change. They acquire an undertone of disgust: Don’t drink so much. Don’t wear such short skirts. You’re sending mixed signals; you’re putting yourself at risk. If you follow the advice and it never happens—if you end up one of the three out of four—you can convince yourself that safety is a product of your own making, a reflection of inherent goodness. But if you’re paying attention, you realize something doesn’t add up. Because it keeps happening: to your sisters; to your friends; to little girls and grown women you’ll never meet, in places like Cleveland, Texas; Steubenville, Ohio; New Delhi. Good people, bad people, neutral. It keeps happening in TV shows and novels and movies—they open on the missing girl, the dead girl, the raped girl. If you’re paying attention, you begin to realize that it isn’t happening. It is being done. And you are not safe. You have never been safe. You were born with a bulls-eye on your back. All you have ever been is lucky.”
— The Female Gaze: SO MUCH PRETTY by Cara Hoffman - review Cara Hoffman’s really amazing, really important novel So Much Pretty at The Female Gaze this month. (via cocothinkshefancy)
(via forcrystal)
Androgyny started in the 1920s girls!
The History of the Flapper, Part 3: The Rectangular Silhouette | Threaded
Alexander Rothaug (Austrian, 1870-1946), Poesie. Oil on canvas.
(via enchantedsleeper)
