We have to create.
It is the only thing louder than destruction.
It’s the only chance the bars are gonna break,
our hands full of color
reaching towards the sky,
a brush stroke in the dark.
It is not too late.”
The starry night
is not yet dry.
– Andrea Gibson, from Yellow Bird (via allthereisiswhatyousee)
is michael cera even a real person?
Paul Newman in The Hustler (1961)
"the suburb of agbogbloshie in ghana’s capital, accra, has in recent years become a dumping ground for computers and electronic waste from europe and the united states. hundreds of tons of e-waste end up here every month as countries in the west attempt to unload their ever increasing stockpiles of toxic junk. of the 20 to 50 million tons of electronics discarded each year, 70% will end up in poor nations.
"increasingly, this e-waste is finding it’s way to west africa and countries like ghana. traders bypass international laws by labeling the equipment as second hand goods or charity donations, but in reality as much as 80% of the computers sent to ghana are broken or obsolete. their final resting place is the agbogbloshie dump where they are broken apart, mostly by children, to salvage the cooper, hard drives and other components that can be sold on.
"the disposal of electronic goods in the west is a costly affair and must be done in an environmentally responsible manner. however, in places like ghana there are no such regulations, and toxic metals like lead, beryllium, cadmium and mercury are continuously being released, causing untold damage to human health and the environment."
photos and text by andrew mcconnell
Friendly reminder this show was filmed in front of a live studio audience in one take.
And that all sitcom laugh tracks are taken from this show because the laughter was so sincere.
friendly reminder that this show was fuckin awesome
And most of the people who were recorded laughing are dead now. When you hear people laughing in sitcoms today, it’s the recorded laughter of dead people.
Well that escalated quickly
Never Say Goodbye, 1946 (dir. James V. Kern)
Ph. Amor Burakova