"The nights have grown cool again, like the nights
of early spring, and quiet again. Will
speech disturb you? We’re
alone now; we have no reason for silence."
Louise Glück, from “The Silver Lily” (via evoketheforms)
(via proustitute)
André Kertész, Bathing, Dunaharaszti, Hungary, 1919
(thanks dlpalinckx)
(Source: wonderfulambiguity)
"I would be yours, you think,
but someone’s calling,
you want to sit on the bed’s edge
and kiss my hip, but the house is far
away, you’re blocked out by roof,
told to sear wind,
perch on a cloudy branch,
you’re told the stone instructions,
to raise your pigeon voice and sing,
sing this tremulous cloister of sky."
Stacie Leatherman, from “News Says” (via proustitute)
"Suddenly the drunken sweetheart appeared out of my door.
She drank a cup of ruby wine and sat by my side.
Seeing and holding the lockets of her hair
My face became all eyes, and my eyes all hands."
Rumi, trans. Coleman Banks (source; via rabbit-light)
(via proustitute)
"It’s good to be free; for then you can sleep and let desire and malaise follow each other without caring what happens. I’m going to become completely rusty."
Ingmar Bergman, Images (via aclockwithouthands)
(via proustitute)
Looking at this image one can begin to understand why in an industry dominated by men, Dusty gained a reputation for being “difficult.” And why in her determination to get a wilder, more ambient sound she would record in the ladies’ bathroom at London’s Marble Arch recording studios.
This dedication and commitment, along with her willingness to experiment, contributes greatly to Dusty Springfield’s enduring popularity. Yet in the end, what ensures her music its timeless and universal quality is Dusty’s ability to vocally convey depths of emotion that transcend categories of age, gender, race and sexual orientation. Hers is truly soul music.
(via thegirlcantdance)
