RT @DrRonHolt: We have always existed…and always will.

A small public service announcement from the Department of Things That You Should Know… It has not “peeked” your interest. Nor has it “peaked” your interest. …It has piqued your interest. You are not “phased” by something. You are fazed by it. If you’ve had a long day, you are weary. If you suspect someone is an idiot, you are wary. It is “due course”, not “do course”. “Per se”, not “per say”. And while we’re here, it’s “could have”, not “could of”, but that particular battle may already be lost. Thank you for your attention during this brief outbreak of grammatical housekeeping. This has been a @LairdofthManor announcement.🎩💙

"Sé humilde, sé simple. Inclínate ante la grandeza de una flor, de una nube, de un insecto. No seas nada. No seas nadie. Sé literalmente una nada. Y cuando estés completamente vacío, el recipiente se podrá llenar de todo lo que realmente eres”. Nikos Kazantzakis

OPÉRA GARNIER The Grand Foyer : This is probably one of the most excellent interiors designs of the Parisian 1800's.

‘Confessions II’ se alza, por lo pronto, como el período pop más apasionante e inmersivo del 2026. ¡Qué era!

In celebration of Pride, we’re remembering those that came before. Our video scrapbook today is dedicated to the men of the war years. For thousands of gay men, World War II served as an unintentional, massive coming out experience. For the first time ever, this “great awakening” allowed homosexuals – from farms, ranches, and small towns across the country – to discover they were not alone. On their way to the front – in cities like New York, San Francisco, San Diego, and Los Angeles – they experienced their first contact with other men like themselves. Look at these faces. Romance couldn’t help but blossom. But our hearts break when we contemplate what the future held. Some, separated by the exigencies of war, never knew what happened to their newly discovered “friend”. Some returned home to the life of a deeply closeted “straight” man with a wife and children. Some didn’t return at all. But the very existence of these photos, likely hidden away for years, speaks to the love these men discovered. And perhaps never found again.🏳️‍🌈

The dandelion is said to echo all three: sun in its bloom, moon in its seed head, stars in its drifting seeds. A small flower holding a whole sky. ✨🌼🌙⭐️

She was 57 years old. White hair. No carefully managed image. No media training designed to make her more palatable. Just thirty years of accumulated knowledge and the calm, unhurried authority of a woman who had spent her life mastering her subject. She sat on a BBC panel, answered questions about immigration and politics, cited evidence, made arguments — and then went home. The next morning, her inbox looked like a crime scene. Her name is Mary Beard — Cambridge professor, classicist, one of the most respected scholars of ancient Rome and Western civilisation alive. And the internet had decided that a woman speaking with quiet authority on television needed to be punished for it. The messages were not criticism. They were not debate. They were rape threats. Death threats. Coordinated campaigns of personal destruction targeting her appearance, her age, her voice — anything that could be used to remind her that spaces like the one she had just occupied were not meant for her. Most people would have gone quiet. Mary Beard went further in. She did what scholars do when they find a pattern that disturbs them: she followed it backward. Through decades. Through centuries. Through millennia. All the way back to some of the oldest texts in Western civilisation. And she found it had always been there. In Homer's Odyssey — one of the foundational works of Western literature, nearly three thousand years old — there is a scene that most readers pass over without registering its quiet violence. Penelope comes downstairs and asks the poet to sing a different song. Her own son, Telemachus, cuts her off. He orders her back to her room and tells her plainly: speech is the business of men. She goes. Mary Beard read that scene and recognized it immediately. Not as ancient history. As a pattern. In ancient Rome, women who dared to speak in public were not described as orators or thinkers. They were described as noise — disorderly sound, something that did not deserve to be called language or argument. Their voices were not speech. Their thoughts were not thoughts. In the medieval world, women who claimed public authority were labeled as witches. Elizabeth I — Queen of England, ruler of a nation — had to rhetorically reshape herself into something masculine just to be taken seriously as the leader of her own country. The silencing of women who speak with authority was not invented by social media. It was not a modern pathology or a cultural accident. It was built deliberately, over centuries, into the very foundations of how Western civilisation defined who gets to speak, what authority sounds like, and who is allowed to take up space in public life. Mary Beard had found something important. In 2017, she published Women & Power: A Manifesto — short enough to read in an afternoon, substantial enough to reframe everything you thought you understood about why this keeps happening. Her argument was precise and devastating. The problem is not that women lack the ability to lead. The problem is that the model of leadership itself — the template for what public authority looks, sounds, and feels like — was built by men over centuries and has never been redesigned. When a woman enters public life and doesn't fit that template, she is not failing. The template was never built for her. It was built specifically to exclude her, and it has been doing exactly that, efficiently and continuously, for three thousand years. The solution, Beard argued, is not to teach women to perform power the way men have always performed it. The solution is to dismantle and rebuild the very concept of what power is allowed to look like. She kept teaching. She kept writing. She kept appearing on television — white-haired, unhurried, carrying her decades of authority without performing it, without packaging it for comfort, without apologizing for it. The threats continued. But other messages began arriving too. Letters from women and girls who had spent their entire lives feeling that every door was slightly too narrow, every table slightly too high, every room slightly reluctant to make space for them. Women who had spent years wondering what was wrong with them — why they couldn't quite fit, couldn't quite belong, couldn't quite be taken seriously no matter how much they knew or how hard they worked. They read the book and understood, perhaps for the first time, that nothing had ever been wrong with them. The room had been designed without them in mind. That is not a personal failing. That is a three-thousand-year-old architectural decision. And one Cambridge professor with white hair and a calm voice — who refused to go quiet when the internet told her to — spent her career documenting it, naming it, and handing that knowledge to everyone who needed to hear it. Telemachus told Penelope that speech was the business of men. He was wrong then. He is still wrong now. And Mary Beard has three thousand years of evidence to prove it. via The Inspireist #FeministFriday #HERstory

"El amor es un fuego. Arde por todas partes. Desfigura a todo el mundo. Es la excusa que el mundo pone por ser tan feo". — Leonard Cohen.

We are honored to present a historic documentary footage capturing the sublime performance of opera legend Maria Callas. She performs the immortal aria "Vissi d'Arte" from Puccini's Tosca, recorded live at the 1964 Royal Gala."

CACHETADA en LA CONSTITUCIÓN 1970. Guadalupe Arredondo (MARÍA FÉLIX) cachetea a Miguel Guerra (CARLOS BRACHO). Que buena cachetada, cuando se las daban de verdad.

"También yo he sentido la inclinación a obligarme, casi de una manera demoníaca, a ser más fuerte de lo que en realidad soy". ~ Soren Kierkegaard

Un día como hoy, 31 años atrás, Björk espejó la algarabía londinense mediante de un conglomerado de eclecticismo sónico-estético. El 13 de junio de 1995, ‘Post’ extenuó los márgenes transfronterizos entre la cultura popular, la semiótica y el arte contemporáneo.

la délicatesse des diadèmes féminins de la Grèce hellénistique...

A dialogue between art and #DGFattoAMano craftsmanship unfolds at @icamiami. Drawing on the symbolism of Devotion through the Sacred Heart, the richness of Sicilian traditions, the elegance of White Baroque decoration and the mastery of Venetian Glassmaking, the #DolceGabbana exhibition reveals how Italy's artistic heritage continues to inspire #DGAltaModa creations. The final days to experience 'From the Heart to the Hands: Dolce&Gabbana', on view at the Institute of Contemporary Art, Miami, until 14 June 2026. Discover more at bit.ly/DGFromTheHeartToTheHa… #DGAltaSartoria #DGAltaGioielleria #MadeInItaly

Brigitte Nielsen, 1987 Photo by Helmut Newton

Macho de pavo real de la India en todo su esplendor. Aunque suele asociarse al suelo, también puede posarse en árboles altos. Captar el instante en que emprende el vuelo con su espectacular cola es un verdadero espectáculo de la naturaleza.

Thanks for being my Unapologetic Bitch Graham‼️ hope you had FUN!🍌🍌👻 ❤️ #rebelhearttour

La influencia de David Hockney en la historia del arte contemporáneo es inmensa, consolidándolo como un innovador incansable que desafió las fronteras de los medios tradicionales. Su relevancia radica en que, en lugar de apegarse a un solo estilo, transformó radicalmente la forma en que los artistas abordan la tecnología, la perspectiva y la identidad. Fue uno de los primeros creadores consagrados en legitimar pantallas electrónicas como lienzos. Usó iPhones y iPads para demostrar que el arte digital puede ser tan expresivo como el óleo. Creó los "joiners" en los años 80. Ensamblaba múltiples fotos Polaroid o impresas para fragmentar el espacio, influyendo en la fotografía artística contemporánea. Utilizó múltiples cámaras simultáneas montadas en vehículos para filmar paisajes. El resultado redefinió el dinamismo y la percepción del tiempo en el videoarte moderno.