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#junkies
escuerzoresucitado · 9 months
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grownwomenshitonly · 8 months
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random-xpressions · 3 months
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I celebrate the day I don't eat junk food (usually by eating it the next day)...
Random Xpressions
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4garty616 · 14 days
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Gwen Stone and her drinking buddy Mushroom.
Gwen is my oc, and Mushroom is Wpekew oc. I adore her style so much.~♡ So please go check her out @wpekew
For those who don't know that Gwen is Melandia's older sister. I need to draw her damn it 😩 and Mushroom.
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narkotyczne · 24 days
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Naćpać się tak więcej bardziej żeby mocniej wjechało
I tak ciągle będzie mi za mało
`\=H ☴ x ☱ N
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ruiraiox · 2 months
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known punk manager and photographer very linked to David Bowie through MainMan, the workshop responsible for taking his image, Lee Black Childers was the manager, among others, of the Heartbreakers and Iggy Pop.
the photographer Leee Black Childers published a book entitled Drag Queens, Rent Boys, Pick Pockets, Junkies, Rockstars and Punks, a collection of pictures he had taken over the years in San Francisco, Los Angeles, London and, most of all, New York.
But Childers didn't just chronicle the happenings around Andy Warhol and his entourage at The Factory, in the backroom at Max's Kansas City or on stage at CBGB's, he also played a part in the careers of David Bowie, Lou Reed and Iggy Pop, and managed Johnny Thunders and the Heartbreakers, the turbulent band that emerged from the ashes of the New York Dolls and took up residency in London in December 1976.
Leee Black Childers, photographer, writer and band manager:
born Jefferson County, Kentucky 24 July 1945
died Los Angeles 6 April 2014.. at the age 68
The Warhol Museum commemorates the life and work of our friend, photographer Leee Black Childers. He was hospitalized after collapsing during the opening celebration of his exhibition in Los Angeles on March 22.
A short clip of Leee can be seen here, describing the notorious artists’ bar Max’s Kansas City, excerpted from the museum’s “Talk on the Wild Side” event in 2011. That discussion focused on the 1971 productions of Warhol’s play “Pork” and its influence on Glam rock, with cast-and-crew Cherry Vanilla (in support of her memoir), Tony Zanetta, and Leee (and moderated—such as it was—by me.)
Native Kentuckian Leee Black Childers was stage manager and official photographer for “Pork,” and an essential character of New York’s underground of the late-1960s and ’70s. He stage-managed Jackie Curtis’s play “Femme Fatale” at La MaMa ETC in 1970, “World Birth of a Nation” by Wayne County, and “Pork” at both La MaMa in New York and the Roundhouse in London, all directed by Anthony Ingrassia.
Leee became David Bowie’s official tour photographer for “Ziggy Stardust,” and spent a season in the Hollywood Hills house-sitting Iggy Pop and the Stooges. In addition to the Factory and Max’s, Leee was a regular at CBGB. He managed punks Johnny Thunders and the Heartbreakers and rockabilly revivalists Levi and the Rockats.
Leee’s documentary photos of “Pork” were shown at the Warhol Museum in the exhibition “Warhol Live: Music and Dance in Warhol’s Work” in 2009. His photographs of the punk scene have been shown worldwide. A book on his work, “Drag Queens, Rent Boys, Pick Pockets, Junkies, Rockstars & Punks,” was published in 2012.
Childers began working for the Heartbreakers just before Malcolm McLaren, who had briefly managed the Dolls, asked them to support his new charges, the Sex Pistols, on what would turn out to be the ill-fated Anarchy tour of the UK. Following the furore over the Pistols' appearance on the Today show with Bill Grundy, most of the dates were cancelled, leaving the Heartbreakers in the lurch. Childers convinced them to remain in London and play as many gigs as they could. "We were a sensation but the Heartbreakers were junkies. That was what they were most famous for," he admitted.
Against all odds, Childers got them a record deal with Track Records, run by the former Who manager Chris Stamp. By March 1977 the Heartbreakers were in the studio with Speedy Keen producing. "The recordings were brilliant – one of the 10 best rock'n'roll records ever made," said Childers. Their version of "Chinese Rocks", written by Dee Dee Ramone and former Heartbreaker Richard Hell, and issued as a single, sold 20,000 copies, but the eventual album and sole studio release, L.A.M.F., didn't pack the punch of their live shows, and only charted briefly.
Born in Jefferson County, Kentucky, in 1945, he was given a camera by his older brother and found it enabled him to overcome his natural shyness when he moved to San Francisco during the Summer of Love. By 1968, he was sharing a Lower East Side one-bedroom apartment in New York with Wayne County and Holly Woodlawn, the Warhol superstar immortalised in Reed's "Walk On The Wild Side". "Andy Warhol told me to find your spot, grab a chair and let them come to you," he recalled.
He was assistant director on several Warhol-related plays, including Pork, which created a stir when it was staged for six weeks at the London Roundhouse in 1971, with Cherry Vanilla in the title role. Childers went on to work for MainMan, the company set up by Tony Defries to manage Bowie's affairs. Given the grand title of "vice president" of the US operation, he served as advance promo man on the Ziggy Stardust US dates. "We were encouraged to drink champagne and eat huge dinners and sign everything," he said of the lifestyle that lasted until Bowie left Defries in 1975.
Childers also served as minder to Pop and the Stooges while they holed up in Hollywood after issuing Raw Power, until MainMan lost interest. He returned to Warhol's circle in the early '80s and continued documenting the New York scene but fell on hard times in the mid-1990s.
After being evicted from his apartment and moving into a homeless hostel, he presumed his precious photographs had been lost until a friend discovered several bags containing most of his negatives.
This allowed Childers to make new prints, license them for use in Chris Sullivan's Punk book in 2001 and paved the way for his own chronicle and several exhibitions of his work.
Childers bleached his hair white and always wore black. He would get teary-eyed when recollecting Thunders and Sid Vicious at book launches and say: "I love all those crazy, self-destructive people. You can't change them. You have to make the decision to accept them for who they are."
Max's Kansas City was a nightclub and restaurant at 213 Park Avenue South in New York City, which became a gathering spot for musicians, poets, artists, and politicians in the 1960s and 1970s. It was opened by Mickey Ruskin (1933–1983) in December 1965 and closed in 1981.
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1- Leee Black Childers and Ava Cherry
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gersonayayay · 10 months
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Baphomet
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palepinkskin · 1 year
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when you reach the end of the downward spiral, when you‘ve reached beyond the lowest point imaginable. when you’re laying on the cold, hard floor, and you’ve quite literally burned every bridge, and nipped at every hand that came your way. when you no longer feel any attachment to the cold, distant stranger in the mirror. you find that you scoured your surroundings, begging pleading for just one more way, or just one more phone number to call to get help. to check into one more rehab to check yourself out of, one more detox facility, one more shot to do it right this time. i’m afraid that is rock bottom. it will be the coldest floor you’ve ever slept on, it will be the most alone and on your own you’ve ever been. at this point, you have two options left: (1.) you can lay down on your back and make fucking snow angels until you die or you can use rock bottom as a solid foundation on which to rebuild your life before you die. be careful, tread lightly because the choice is yours.
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escuerzoresucitado · 2 years
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scurvdaperv · 7 months
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espritmetropol · 2 years
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Süchtig
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narkotyczne · 20 days
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Nie utyjemy ponieważ schudniemy
Przeżyjemy co zeżremy i tak umrzemy
`\=H ☴ x ☱ N
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Ceci est une menace
On fleurit dans l’épreuve et dans l’effort.
Nos peurs ne se trouvent pas dans la douleur.
Se réaliser dans les blessures subies et auto-infligees.
Y poser de la fierté, les vêtir d’intensités et de vie.
Faire exister de petites morts dans le présent, pour mieux apprivoiser la grande.
Une vie en clair obscur, aux contrastes creusés à fil tendu.
Un Caravage de crève la faim.
Une œuvre-vie grandiose inscrite dans nos chair, aux cicatrisations douteuses. Ce corps, nos corps sont une arme. Je l’affûte, j’en refait le fil, j’y inscrit la menace dans l’allure et le danger dans la détente, expose au besoin sa douceur, tendre ses muscles pour séduire ou faire fuir.
Des pouvoirs que j’incarne par vengeance contre vous. Un objet-chair fait de vos rejets, aux contours tracés par vos conforts.
Défigurer ce corps et son esprit pour qu’il m’appartienne à chaque fois un peu plus.
Pour qu’il ne vous ressemble pas, qu’il éveille en vous le doute et la peur,
Soigneusement placée au fond d’une vallée dérangeante creusée à bout de mains
Porter ses stigmates en couronne, pour finalement voir le pantin morose que l’on est devenu.
Comprendre que la moindre marque, la moindre fibre qui nous anime est utile à votre conspiration de dangereux médiocres.
Vivre et se battre pour que la défaite soit belle.
A Ceilleux qui partaient en vacances dans le sud. Qui avaient des kinder au goûter. Qui n’ont jamais porté de vêtements usés, trop grands ou troués. Qui n’ont jamais sauté un repas. Qui volent pour s’amuser. Qui sont allés à Disney. Qui en récompense d’une bonne note en français on offre de l’or.
On ne veut ni de votre argent ni de vos babioles.
Votre compassion est un venin et vos cadeaux nous brûlent les mains.
Vos rires sont caustiques et vos joies nous sont étrangères.
Et lorsqu’on vous parle de haine on entend au loin le bruit des chaînes.
Jamais vous ne mesurerez notre grandeur du haut de vos mépris.
Jamais vous ne vous bougerez si gracieusement avec autant de plomb dans l’aile.
Jamais vous ne réaliserez la puissance d’un corps cassé qui avance sans rien à perdre ni à gagner.
Votre mort habite notre regard et vous épouvante
 Et lorsque l’un de vous tombe nous rions de nos sourires troués.
A Ceilleux qui hériteront, et qui comptent le sou d’autant mieux que jamais ielles ne manqueront.
A qui avant un sommeil paisible on faisait la lecture.
Qui n’ont jamais eu besoin de béquille chimique.
Qui n’ont jamais saigné des poings sur les murs.
Qui n’ont jamais tremblé entre deux murs de brique.
Nous avons cessé il y a longtemps de vous expliquer, mais écoutez :
Vous ne serez jamais paisibles. Dans les villes la nuit vous rasez les murs. Vous fermez vos portes à double tour et cachez la vue de nos carcasses à vos enfants. Vous ne comprenez ni nos mots ni nos gestes. Nos intentions sont dérobées et nos armes opportunes. Nous ne respectons pas vos codes et ne connaissons pas la honte. 
Nous somme la brume que personne ne saisit mais que tout le monde craint. 
Vous pouvez illuminer vos rues, enfermer les menaces et monnayer des trêves.
Mais vous ne serez jamais paisibles.
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sonofbigzopf · 1 year
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I didn’t go in, although invited. As I was turning the corner, he was licking his vein. I knew he was shooting up.
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eric-sadahire · 1 year
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What did Velma say to Scooby at the haunted methadone clinic?
"Junkies!"
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