masterful

let my baby stay

undercover

undercover

閉上我的眼睛
聲音越來越清晰
Oh my baby 讓我相信你
我們的愛情遙遙無止境

不知道是怎麼開始
不想要裝做不在意
讓我們一起製造一個太陽系
循著它走自己的軌跡

I wanna follow you
I just follow you

Wherever he was, in his loft or in a studio provided by his gallery in a foreign city, two or three assistants would build his stretchers and prepare his canvases. Meanwhile, three large primed canvases, measuring anywhere from 8 by 6 feet to sometimes 15 feet long, would be set before him, flat on the floor or fixed to a wall. Wearing a new $800 Armani suit, elegant shirt and tie—but with bare feet—he would enter the brightly lit space, looking like Ali entering the boxing ring. Situated at convenient locations around the space would be a mound of top-quality cocaine on a large piece of tinfoil, several ashtrays containing the strongest marijuana which, like Burroughs on a writing binge, he would chain smoke and an open bottle of the best red wine costing about $500. Battered copies of his favorite books, Junky by William Burroughs, The Subterraneans by Jack Kerouac and a biography of Charlie Parker,Bird Lives!, lay next to expensive art books on Cy Twombley and Leonardo da Vinci. A state-of-the-art boom box flooded the space with beautiful, pulsing jazz music by Miles Davis, Charlie Parker, Ornette Coleman and others.
Like Kerouac, he believed in spontaneous composition and would never change a line once he had started it. In this manner, while the mound of cocaine slowly disappeared, marijuana was crushed out in ashtrays, a bottle of wine was replaced by another and his new suit was splattered red, black, yellow and gold, Jean-Michel would paint until all three canvases were completed to his satisfaction. This often meant filling an entire canvas with a brilliant work, only to paint entirely over it, producing an even more brilliant work. He sometimes worked for as long as three days without stopping.

Wherever he was, in his loft or in a studio provided by his gallery in a foreign city, two or three assistants would build his stretchers and prepare his canvases. Meanwhile, three large primed canvases, measuring anywhere from 8 by 6 feet to sometimes 15 feet long, would be set before him, flat on the floor or fixed to a wall. Wearing a new $800 Armani suit, elegant shirt and tie—but with bare feet—he would enter the brightly lit space, looking like Ali entering the boxing ring. Situated at convenient locations around the space would be a mound of top-quality cocaine on a large piece of tinfoil, several ashtrays containing the strongest marijuana which, like Burroughs on a writing binge, he would chain smoke and an open bottle of the best red wine costing about $500. Battered copies of his favorite books, Junky by William Burroughs, The Subterraneans by Jack Kerouac and a biography of Charlie Parker,Bird Lives!, lay next to expensive art books on Cy Twombley and Leonardo da Vinci. A state-of-the-art boom box flooded the space with beautiful, pulsing jazz music by Miles Davis, Charlie Parker, Ornette Coleman and others.

Like Kerouac, he believed in spontaneous composition and would never change a line once he had started it. In this manner, while the mound of cocaine slowly disappeared, marijuana was crushed out in ashtrays, a bottle of wine was replaced by another and his new suit was splattered red, black, yellow and gold, Jean-Michel would paint until all three canvases were completed to his satisfaction. This often meant filling an entire canvas with a brilliant work, only to paint entirely over it, producing an even more brilliant work. He sometimes worked for as long as three days without stopping.

denitia and sene 

Portishead

"Fill the Blanks" by Appaloosa, from After Dark 2

Glass Candy

ITMFL

Reblogged from cinyma with 334 notes

They say you have no name, they say you show no signs. And who you are by day isn’t the same in the night

Reblogged from wkwlovers with 51 notes