Placeholder: [colour high res photo: Night of the Living Dead (1968) by Romero] n the pulsating heart of the underworld, where the line between the living and the dead blurred, there existed a disco dancing floor like no other. The stage was set for a performance that defied the boundaries of time and space, a spectacle that drew the attention of both the departed and the living. As the ethereal lights flickered to life, casting a kaleidoscope of colors across the dance floor, a figure emerged from the shad [colour high res photo: Night of the Living Dead (1968) by Romero] n the pulsating heart of the underworld, where the line between the living and the dead blurred, there existed a disco dancing floor like no other. The stage was set for a performance that defied the boundaries of time and space, a spectacle that drew the attention of both the departed and the living. As the ethereal lights flickered to life, casting a kaleidoscope of colors across the dance floor, a figure emerged from the shad

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[colour high res photo: Night of the Living Dead (1968) by Romero] n the pulsating heart of the underworld, where the line between the living and the dead blurred, there existed a disco dancing floor like no other. The stage was set for a performance that defied the boundaries of time and space, a spectacle that drew the attention of both the departed and the living. As the ethereal lights flickered to life, casting a kaleidoscope of colors across the dance floor, a figure emerged from the shad

distorted image, malformed body, malformed fingers

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[colour high res photo: Night of the Living Dead (1968) by Romero] In a climactic moment, intricate pipes appear, twisting and turning in a maze of complexity. Characters watch in awe as the pipes emit a harmonious hum, resonating with inexplicable power. Each pipe is adorned with ornate engravings and pulsating lights, forming a mesmerizing sight.
a fun greek party in the basement of a palace in Babylon: beds, music, dancers, animals, food, smiling kinds and queens
[colour high res photo: Night of the Living Dead (1968) by Romero n the eerie glow of a dimly lit comedy club, the stage was set for a performance unlike any other. The audience, a mix of the living and the undead, eagerly awaited the arrival of the stand-up artist who had risen from the grave to deliver his twisted brand of humor. As the spotlight flickered to life, revealing a figure clad in tattered clothes and sporting a ghostly pallor, the crowd erupted in a mix of laughter and nervous an
In the second month of that summer all the school gathered again at the Great House to celebrate the Moon's Night and the Long Dance, which that year fell together as one festival of two nights, which happens but once in fifty-two years. All the first night, the shortest night of full moon of the year, flutes played out in the fields, and the narrow streets of Thwil were full of drums and torches, and the sound of singing went out over the moonlit waters of Roke Bay.
[colour high res photo: Night of the Living Dead (1968) by Romero n the eerie glow of a dimly lit comedy club, the stage was set for a performance unlike any other. The audience, a mix of the living and the undead, eagerly awaited the arrival of the stand-up artist who had risen from the grave to deliver his twisted brand of humor. As the spotlight flickered to life, revealing a figure clad in tattered clothes and sporting a ghostly pallor, the crowd erupted in a mix of laughter and nervous an
[high res photo by helmut newton] As the night falls and shadows lengthen, the campus is transformed into a playground of forbidden desires and secret fantasies. The women and their minions navigate this world of power and submission with a sense of purpose and freedom, each fulfilling their role in this intricate dance of dominance.
[art by Kevin Eastman and Peter Laird] A surprised Niger sublime dancer woman, 24-years-old wearing a white and green one-piece swimsuit , dancing gracefully with a walking orchestra, the overcast sky in the background, vintage 1980's photo
[hammer horror] Uncle Fester Addams on the beach in California [Versace]
[colour high res photo: Jason and the Argonauts (1963) n the eerie glow of a dimly lit comedy club, the stage was set for a performance unlike any other. The audience, a mix of the living and the undead, eagerly awaited the arrival of the stand-up artist who had risen from the grave to deliver his twisted brand of humor. As the spotlight flickered to life, revealing a figure clad in tattered clothes and sporting a ghostly pallor, the crowd erupted in a mix of laughter and nervous anticipation.
[photo from collection gilman and gonzalez-FALLA]
In a world painted in audacious hues, where even the mundane hums with a vibrant, almost operatic pulse, there is a moment of stolen, tender choreography. The scene: a mechanic's garage, typically a realm of grease and grit. Yet, under Jacques Demy's artful eye and Michel Legrand's soaring score, it transforms into an impromptu ballroom.
[colour high res photo: Jason and the Argonauts (1963) the octopus fight] In the aftermath of the savage battle in the alien cave, Surpanakha emerged as a force to be reckoned with. Her vengeance, fueled by a primal fury that knew no bounds, had left a trail of devastation in its wake. The giant velvet alien tendrils that once sought to ensnare her now lay shattered and defeated, no match for her relentless determination.
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