Beautiful and depraved.

For connoisseurs of premium filth.

For more extensive filth, you can find me and many others at: Fi/thy Gorgeous Th/ngs

I'm also here: beautifulanddepraved.blogspot.com
and I can be reached at: beautifulanddepraved {at} gmail.com

My haikus: twitter
Nov 01
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I only really like jewelry on an otherwise naked body. Daria Werbowy by Inez Van Lemsweerde and Vinoodh Matadin (via thingsthatexciteme)

I only really like jewelry on an otherwise naked body.

Daria Werbowy by Inez Van Lemsweerde and Vinoodh Matadin

(via thingsthatexciteme)

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Christina Hakimi (via thingsthatexciteme)

Christina Hakimi (via thingsthatexciteme)

Oct 22
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by Thee Most Exalted Potentate of Love (via syntheticpubes)

by Thee Most Exalted Potentate of Love (via syntheticpubes)

Oct 20
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Andreas Gefeller, Soma 007 (2000) (via homeofthevain)

Andreas Gefeller, Soma 007 (2000)

(via homeofthevain)

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Karen O. and the Kids - All is Love from Where the Wild Things Are.

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“Phyllis has penetrated his private and professional domain; he bows under her weight and yields to her authority.  More interesting, to me, is how she presented.  Unlike other depictions, which focus on Phyllis’ beauty or render her a caricature, Spranger’s Phyllis is heroic. This body positioning, of one arm upraised, brandishing a weapon, is masculine and is usually reserved for heroes and leaders. So while the tale itself is comical and moralizing, Spranger interprets Phyllis as a more powerful force, reminiscent of female leaders, like Jeanne III de Navarre (1528-1572), Elizabeth I of England (1533-1603) and Marie de’ Medici of France (1575-1642). The image comes across not as a moralizing exemplum but simply a noble victory of beauty over rhetoric, love over reason.” - Christina Voss in this week’s Erotica Curiosa (F/lthyGorgeousTh/ngs) Phyllis and Aristotle. Jan Sadeler, after Bartholomeus Spranger (c. 1590), engraving

“Phyllis has penetrated his private and professional domain; he bows under her weight and yields to her authority.  More interesting, to me, is how she presented.  Unlike other depictions, which focus on Phyllis’ beauty or render her a caricature, Spranger’s Phyllis is heroic. This body positioning, of one arm upraised, brandishing a weapon, is masculine and is usually reserved for heroes and leaders. So while the tale itself is comical and moralizing, Spranger interprets Phyllis as a more powerful force, reminiscent of female leaders, like Jeanne III de Navarre (1528-1572), Elizabeth I of England (1533-1603) and Marie de’ Medici of France (1575-1642). The image comes across not as a moralizing exemplum but simply a noble victory of beauty over rhetoric, love over reason.”

- Christina Voss in this week’s Erotica Curiosa (F/lthyGorgeousTh/ngs)

Phyllis and Aristotle. Jan Sadeler, after Bartholomeus Spranger (c. 1590), engraving

Oct 18
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Lykke Li > Possibility

(via refrainfrom:spaceships)

Some voices.

Oct 17
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(via modfetish:oletheros:sir-jasper-says-spread-em)

(via modfetish:oletheros:sir-jasper-says-spread-em)

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modfetish:bosom:Marcus Ohlsson for S Magazine

modfetish:bosom:Marcus Ohlsson for S Magazine

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“ You know, if you economize and don’t buy new airplanes or long-range jets, or that sort of thing, you can get by on a billion or two.
—
Ted Turner (via pegobry)