ivegotabike:

Still from Noidan kirot (The Curses of the Witch, 1927). It’s one of the few Finnish horror movies.

ivegotabike:

Still from Noidan kirot (The Curses of the Witch, 1927). It’s one of the few Finnish horror movies.

(via metalshell)

fyeahsixtiesmusic:

A Whiter Shade of Pale — Procol Harum

(via thegeekmaster)

(via aimishboy)

oddresonance:

Geniuses of death: Otto von Bismarck (lithograph)
Edmond Jean Baptiste Guillaume

oddresonance:

Geniuses of death: Otto von Bismarck (lithograph)

Edmond Jean Baptiste Guillaume

aldoushuxley:

Edgar Degas, René de Gas, 1855.

aldoushuxley:

Edgar Degas, René de Gas, 1855.

stilllifequickheart:

François Bonvin
Still Life with Book, Papers and Inkwell
1876
historyfan:

Prince Albert of Saxe-Coburg and Gotha.
By John Partridge. 1840.

historyfan:

Prince Albert of Saxe-Coburg and Gotha.

By John Partridge. 1840.

(Source: vouzou, via southern-silver)

amoderndandy:

This is somehow so wrong - but it’s also so amazing!

amoderndandy:

This is somehow so wrong - but it’s also so amazing!

(Source: havssol)

amoderndandy:

egadegadegad:

Lest anyone think that drag kings are a contemporary phenomenon, consider the case of Vesta Tilley, real name Matilda Powles. As Vesta grew up, she began to prefer playing male parts, saying that “I felt that I could express myself better if I were dressed as a boy”, and eventually came to portray them exclusively. Although ostensibly her crossdressing was a theatrical device, she also made publicity appearances in public in full male drag and never breaking character. She was especially popular with women who saw her as a symbol of emancipation, and enjoyed her musical repertoire which almost always deconstructed gender roles in a playful way.

This is fascinating! I’ll try to find out more about her!

amoderndandy:

egadegadegad:

Lest anyone think that drag kings are a contemporary phenomenon, consider the case of Vesta Tilley, real name Matilda Powles.

As Vesta grew up, she began to prefer playing male parts, saying that “I felt that I could express myself better if I were dressed as a boy”, and eventually came to portray them exclusively. Although ostensibly her crossdressing was a theatrical device, she also made publicity appearances in public in full male drag and never breaking character. She was especially popular with women who saw her as a symbol of emancipation, and enjoyed her musical repertoire which almost always deconstructed gender roles in a playful way.

This is fascinating! I’ll try to find out more about her!