Me, being the Scooby-Doo fanatic I am, decided to make a complete timeline of all the Scooby-Doo content that include the animated series, animated movies, live action films, and possibly the worst Scooby rendition which was the puppet movie all in chronological order. I wanted to show how the gang and the animation style had changed throughout the years, so enjoy!
Me, being the Scooby-Doo fanatic I am, decided to make a complete timeline of all the Scooby-Doo content that include the animated series, animated movies, live action films, and possibly the worst Scooby rendition which was the puppet movie all in chronological order. I wanted to show how the gang and the animation style had changed throughout the years, so enjoy!
19-year-old Tatsuya wearing a vintage Tokyo street style featuring a 1920s L.L.Bean coat, 1960s Lee vest, early 1900s cropped pants, 1980s Vivienne Westwood shoes, and accessories from the 1950s and 1960s. Full Look
19-year-old Tatsuya wearing a vintage Tokyo street style featuring a 1920s L.L.Bean coat, 1960s Lee vest, early 1900s cropped pants, 1980s Vivienne Westwood shoes, and accessories from the 1950s and 1960s. Full Look
I am reduced to a thing that wants Virginia. I composed a beautiful letter to you in the sleepless nightmare hours of the night, and it has all gone: I just miss you, in a quite simple desperate human way. You, with all your un-dumb letters, would never write so elementary a phrase as that; perhaps you wouldn’t even feel it. And yet I believe you’ll be sensible of a little gap. But you’d clothe it in so exquisite a phrase that it would lose a little of its reality. Whereas with me it is quite stark: I miss you even more than I could have believed; and I was prepared to miss you a good deal. So this letter is just really a squeal of pain. It is incredible how essential to me you have become. I suppose you are accustomed to people saying these things. Damn you, spoilt creature; I shan’t make you love me any the more by giving myself away like this –But oh my dear, I can’t be clever and stand-offish with you: I love you too much for that. Too truly. You have no idea how stand-offish I can be with people I don’t love. I have brought it to a fine art. But you have broken down my defences. And I don’t really resent it. - Vita Sackville West to Virginia Woolf
Look here Vita — throw over your man, and we’ll go to Hampton Court and dine on the river together and walk in the garden in the moonlight and come home late and have a bottle of wine and get tipsy, and I’ll tell you all the things I have in my head, millions, myriads — They won’t stir by day, only by dark on the river. Think of that. Throw over your man, I say, and come.--Virginia Woolf to Vita Sackville West
I am reduced to a thing that wants Virginia. I composed a beautiful letter to you in the sleepless nightmare hours of the night, and it has all gone: I just miss you, in a quite simple desperate human way. You, with all your un-dumb letters, would never write so elementary a phrase as that; perhaps you wouldn’t even feel it. And yet I believe you’ll be sensible of a little gap. But you’d clothe it in so exquisite a phrase that it would lose a little of its reality. Whereas with me it is quite stark: I miss you even more than I could have believed; and I was prepared to miss you a good deal. So this letter is just really a squeal of pain. It is incredible how essential to me you have become. I suppose you are accustomed to people saying these things. Damn you, spoilt creature; I shan’t make you love me any the more by giving myself away like this –But oh my dear, I can’t be clever and stand-offish with you: I love you too much for that. Too truly. You have no idea how stand-offish I can be with people I don’t love. I have brought it to a fine art. But you have broken down my defences. And I don’t really resent it. - Vita Sackville West to Virginia Woolf
Look here Vita — throw over your man, and we’ll go to Hampton Court and dine on the river together and walk in the garden in the moonlight and come home late and have a bottle of wine and get tipsy, and I’ll tell you all the things I have in my head, millions, myriads — They won’t stir by day, only by dark on the river. Think of that. Throw over your man, I say, and come.--Virginia Woolf to Vita Sackville West
Photos from the collection of Norma and Virginia, featured in the film Lives:Visible.
“While doing background research for my interactive narrative Mixed Greens I met Patrick Gourley. I was looking for old photographs that would help me understand lesbian life in Chicago in the 1950s and early 60s. ‘I have a whole houseful of photos and objects,’ said Patrick. He wasn’t kidding. He had been a friend and caretaker of two elderly lesbians during the last decade of their lives. He showed me a trove of over 2000 snapshots taken by Norma and Virginia from 1939-1975. When I saw the photos I knew I had to make a film about them. Here were images of lovers and friends as they played, posed, worked, partied, drank, and aged. Norma and Virginia had left an amazing historical treasure …
“The photographs haunt me. As a young lesbian I knew women like Norma and Virginia. I was self-righteous and felt contempt for their butch/femme life. They lived in the closet, I proudly didn’t. However, the way Norma and Virginia lived and documented their lives complicates my idea of the closet. Assimilation comes at a price. I live a mainstreamed life in a different world – my partner and I can marry if we choose. We have gained so much, yet I am learning some things were lost. As I came out in the early 70s this community was slipping away, changed forever by second wave Feminism and Stonewall. I won’t let it disappear forever. These lesbian lives and the history they lived are too important.”
Photos from the collection of Norma and Virginia, featured in the film Lives:Visible.
“While doing background research for my interactive narrative Mixed Greens I met Patrick Gourley. I was looking for old photographs that would help me understand lesbian life in Chicago in the 1950s and early 60s. ‘I have a whole houseful of photos and objects,’ said Patrick. He wasn’t kidding. He had been a friend and caretaker of two elderly lesbians during the last decade of their lives. He showed me a trove of over 2000 snapshots taken by Norma and Virginia from 1939-1975. When I saw the photos I knew I had to make a film about them. Here were images of lovers and friends as they played, posed, worked, partied, drank, and aged. Norma and Virginia had left an amazing historical treasure …
“The photographs haunt me. As a young lesbian I knew women like Norma and Virginia. I was self-righteous and felt contempt for their butch/femme life. They lived in the closet, I proudly didn’t. However, the way Norma and Virginia lived and documented their lives complicates my idea of the closet. Assimilation comes at a price. I live a mainstreamed life in a different world – my partner and I can marry if we choose. We have gained so much, yet I am learning some things were lost. As I came out in the early 70s this community was slipping away, changed forever by second wave Feminism and Stonewall. I won’t let it disappear forever. These lesbian lives and the history they lived are too important.”
