No one does hair like this man. Shout out to @sexychuckie, aka The Master.
No reason other than a smile.

Cheery corner.  Deep magenta paired with bright teal makes this reading corner cheerful and fun.  Let the bright colors pop by using white accents and simple decor, such as the hanging pendant light that takes the place of a reading lamp, giving more room for your weekend reads.


love the chandelier & chairs
“As a black artist, the expectation of what you should be doing is always programmed for you regardless. There is a tendency to try to cubbyhole you that exists across the board in the art world. I would say in relationship to my white counterparts’ work, that when departures or new areas are explored, works that involve the figure are not questioned as to where the Caucasian figure went. People believe that you should have a particular signature for the rest of your life. I can’t even begin to imagine what kind of life that would be. I would not be able to do this work without having done the work I’ve done before. It informs, just like this work will inform future projects.”
“I do not feel as though issues of identity are exhaustible. The notion of identity, be it self-constructed or as an imposed ideology from outside, means to me that it is a complex and contradictory system. For me as an idea, structurally and particularly in terms of creating narrative, I find that whether I am making a critique about identity or constructing a character—this complexity, which is what I find to be the most interesting aspect, is present throughout the work. I feel that my critique of identity, which in the past work may be the most obvious, becomes the foreground or recedes given the structures of the text or the type of narrative that I impose on the work. I would not say that notions of identity are absent from the present work.”

Wangechi MutuFamily Tree, 2012One of 13 mixed-media collages on paper, 19.25 x 15.25 inches. Collection of the Nasher Museum of Art at Duke University, Durham, NC. © Wangechi Mutu. Photo by Robert Wedemeyer.

“Jim Jarmusch is old school. He writes all his scripts out by hand and then dictates them to a typist. Ideas are jotted down in small, color-coordinated notebooks and, despite the presence of an iPad and iPhone in his life, he doesn’t have email. ‘I don’t have enough time as it is to read a book or make music, or see my friends… no, I do not have email.’ …
Jarmusch could be called vampiric, too, and not just for his predominantly black wardrobe and movie-villain-like nimbus of silver hair, which he has styled and cut himself since he was a boy. At 61, he still has an unquenched cultural thirst: old school but with a tremendous jones for new (or new-to-him) projects. …
More than three decades into filmmaking, Mr. Jarmusch remains the rare indie director who achieved critical success (and four prizes at Cannes) and enough prestige to cast bankable movie stars like Cate Blanchett and Johnny Depp, and yet never made a move toward Hollywood, never even leapt at directing a commercial. Instead he has maintained, in movies and music, his own wry, rad vision. …
Coming projects include a quasi-documentary about the Stooges (“a little poetic essay,” Mr. Jarmusch said); an opera about Nikola Tesla, in collaboration with his friend the composer Phil Kline and the international director Robert Wilson; and another feature, about a bus driver and poet in Paterson, N.J., that Mr. Jarmusch wrote in the years he waited for “Only Lovers” to come together.
'I take on a lot more now,' he said, partly out of age, experience and desire, and partly out of professional gumption. …
[A]s an aficionado of decay, he has, of course, imagined his own demise.
The Zoroastrians, an ancient Iranian religious group, ‘get eaten by vultures,’ he said. ‘They put their dead bodies on a mountaintop, and they get eaten. I would love that.’”
This Time, Jim Jarmusch is Kissing Vampires 
“I read for pleasure and that is the moment I learn the most.”


He was catnip to women… the best example of what critic Richard Schickel called “perfect masculine grace,” the greatest film star of his era… He had the looks, talent, voice, finesse, sex appeal, and—the rarest of all attributes in a male film actor—masculine sensitivity.

G. Bruce Boyer