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  • Sky- We define our beauty and worth, nobody else gets to do that for us!

    Sky- We define our beauty and worth, nobody else gets to do that for us!

    Nude photos and art are powerful. Personally, I use them as a way of reclaiming power over my body. They have the capacity to evoke strong emotions which can really drive a message home. In my own creation, nude art contains messages of freedom, liberation, vulnerability, and self-acceptance. There is nothing more raw and real and that is what truly inspires. I feel this sense of inspiration boil over when witnessing individuals of varying shapes, sizes, genders, ethnicities, and sexualities showcasing their nude bodies and art. It is something so natural and beautiful after all, so why hide it? Many of us have had to overcome difficulties in our minds to find the courage to pose nude. It can be such a cathartic and sacred experience when you finally let go of the doubt and take the plunge. In my personal experience, it has been empowering. I would much rather teach people that nude bodies are nothing to be ashamed of than perpetuate the idea that we should hide them in shame. We define our beauty and worth, nobody else gets to do that for us!

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  • Michelle - Rebel Heart

    Michelle - Rebel Heart

    My BEST advice? You are your worst critic. Learn to love yourself and it all falls into place from there. Do NOT listen to the catty drama in the modeling world. It’s never worth it and it only causes you to lose focus. And NEVER compare yourself or your work to others. You are not them, and you never will be. You are you. And nobody else can ever be you. You’re one of a kind and you’ll never be replaced. Live for that NOW!

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  • Ahbee - Every body is beautiful

    Ahbee - Every body is beautiful

    So long as a person's body is out of harm's way, all bodies are beautiful.

    EVERYBODY has their own idea of what is attractive and their own set of kinks. There will always be somebody who finds an individual attractive.

    Just as such there will always be people who will have negative opinions about someone and their appearance. As long as you love yourself and the vessel that carries you, to hell with anybody else's opinion on you, good or bad. 

    Every body is beautiful.

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  • Pinky - Cosplay is fun

    Pinky - Cosplay is fun

    My advice for a beginner cosplayer would be to just be yourself.

    For most people, cosplay is a way to escape reality.

    Just because you cosplay a certain character does not mean you have to act like that character.

    When I cosplay I'm not worried about being too into character, I'm mostly in it to have fun. Which leads into my second piece of advice, have fun. Always have fun when you are doing anything, whether it is for cosplay or not.

    Having fun, to me, is one of the more important parts of cosplaying.

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THE MACHINIST

September 10, 2016

By Roger Ebert

 
"If you were any thinner," Stevie tells him, "you wouldn't exist." Trevor Reznik weighs 121 pounds and you wince when you look at him. He is a lonely man, disliked at work, up all night, returning needfully to two women who are kind to him: Stevie, a hooker, and Marie, the waitress at the all-night diner out at the airport. "I haven't slept in a year," he tells Marie.

Christian Bale lost more than 60 pounds to play this role, a fact I share not because you need to know how much weight he lost, but because you need to know that it is indeed Christian Bale. He is so gaunt, his face so hollow, he looks nothing like the actor we're familiar with. There are moments when his appearance even distracts from his performance, because we worry about him. Certainly we believe that the character, Trevor, is at the end of his rope, and I was reminded of Anthony Perkins' work in Orson Welles' "The Trial," another film about a man who finds himself trapped in the vise of the world's madness.http://www.rogerebert.com/cast-and-crew/christian-bale

Trevor works as a machinist. There's a guy like him in every union shop, a guy who knows all the rules and works according to them and is a pain in the ass about them. His co-workers think he is strange; maybe he frightens them a little. His boss asks for a urine sample. One day he gets distracted and as a result one of his co-workers loses a hand. The victim, Miller (Michael Ironside) almost seems less upset about the accident than Trevor is. But then Trevor has no reserve, no padding; his nerve endings seem exposed to pain and disappointment.

Stevie (Jennifer Jason Leigh) is a consolation. They have sex, yes, but that's the least of it. She sees his need. Trevor is reading Dostoyevsky's The Idiot and perhaps there is a parallel between Stevie and Nastassia, Dostoyevsky's heroine, who is drawn to a self-destructive and dangerous man. Leigh has played a lot of prostitutes in her career, but each one is different because she defines them by how they are needed as well as by what they need.

Marie (Aitana Sanchez-Gijon) is the other side of the coin, a cheerful presence in the middle of the night. "You're lonely," she tells Trevor. "When you work graveyard shift as long as I have, you get to know the type." She wonders why he comes all the way out to the airport just for a cup of coffee and a slice of pie. She wouldn't mind dating him.

Then there is the matter of Ivan (John Sharian), the distracting and disturbing co-worker who perhaps contributed to the accident. He lost some fingers in a drill press once, and the docs replaced them with his toes. "I can't shuffle cards like I used to," he says. Nor, apparently, can he punch in on the time clock: The guys at the shop claim he doesn't exist. Is Trevor imagining him? And what is the meaning of the Post-It notes that look like an incomplete version of a Hangman puzzle?

"The Machinist" has an ending that provides a satisfactory, or at least a believable, explanation for its mysteries and contradictions. But the movie is not about the plot, and while the conclusion explains Trevor's anguish, it doesn't account for it. The director Brad Anderson, working from a screenplay by Scott Kosar, wants to convey a state of mind, and he and Bale do that with disturbing effectiveness. The photography by Xavi Gimenez and Charlie Jiminez is cold slates, blues and grays, the palate of despair. We see Trevor's world so clearly through his eyes that only gradually does it occur to us that every life is seen through a filter.

We get up in the morning in possession of certain assumptions through which all of our experiences must filter. We cannot be rid of those assumptions, although an evolved person can at least try to take them into account. Most people never question their assumptions, and so reality exists for them as they think it does, whether it does or not. Some assumptions are necessary to make life bearable, such as the assumption that we will not die in the next 10 minutes. Others may lead us, as they lead Trevor, into a bleak solitude. Near the end of the movie, we understand him when he simply says, "I just want to sleep."

 

Roger Ebert
November 18, 2004 |