Gina Lollobrigida (Solomon and Sheba, The Hunchback of Notre Dame)— One of the highest profile movie stars in Europe across the 50s and 60s. International sex symbol. Starring in European and American movies. She appeared in movies alongside Hollywood stars such as Humphrey Bogart and Rock Hudson. Was in 54 movies by 1970. A MOVIE STAR in every essence. Has a star on the Hollywood Walk of Fame. Won three David di Donatello, a Golden Globe two Nastro d'Argento, and six Bambi awards. And nominated for more.
Sadhana Shivdasani (Woh Kaun Thi?)—look at her 1960s GLAM and tell me that's not an icon. i would kill for her winged eyeliner swag
This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.
[additional propaganda submitted under the cut.]
Gina Lollobrigida:
She was an international sex symbol once dubbed as The Most Beautiful Woman In The World. She acted in films in both Italy and France before starring in Beat The Devil with Humphrey Bogart. When portraying soprano Lina Cavalieri, she sang all of the songs in her own voice. This role won her the very first David di Donatello Award for Best Actress, Italy's academy awards.
She was one of the highest-profile European actresses of the 1950s and 1960s, a period in which she was an international sex symbol. Humphrey Bogart once said of her: "She makes Marilyn Monroe look like Shirley Temple."
Literally starred in a movie called "The Most Beautiful Woman in the World". I rest my case.
“The touch of an infinite mystery passes over the trivial and the familiar, making it break out into ineffable music. The trees and the stars and the blue hills appear to us as symbols aching with a meaning which can never be uttered in words.”
“Everything you see is in the process of falling to pieces … and Kali is standing there as the manifestation of what will happen to everything and everyone. There will be total destruction and reversion of everything into something new.”
Susan Luckey (The Music Man)—I thought she was the best thing ever when I was like, 8, and I still think that tbh. Ye gods!
Sadhana Shivdasani (Woh Kaun Thi?)—look at her 1960s GLAM and tell me that's not an icon. i would kill for her winged eyeliner swag
This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.
On Metacognition, Samadhi, Sadhana and the Places In Between:
The psychologization of the dharma in the west has not been an entirely negative movement. In many ways the marriage of psychology and mindfulness has been a fruitful one that has made Buddhist principles more accessible to the masses. Certainly the ongoing dialogue between observational science and Buddhist spiritual practice has helped to both verify and refine the transmission and translation of various doctrines and practices into a culturally accessible format.
However, this hasn’t been a movement without shadow. The conflation of the dharma with mindfulness alone, as the crown jewel of the psychological reductionist perspective has been a hindering force for many practitioners, who often come to conflate awakening with metacognitive awareness. That’s a grave mistake.
The dawning of metacognition is a substantial doorway, but a doorway nonetheless. It’s not the path made manifest. Likewise practice cannot be reduced to metacognition. Metacognition is a relatively early consequence of meditative practice, but it’s not samadhi, and it’s certainly not prajna.
Samadhi is often misunderstood as some kind of blank absorption into mindless being. This is a substantial pitfall, a trapping of the mind that the ego is all too happy to allow the practitioner to become infatuated with. Hanging out in “nothingness” after all is a safe space for the ego, wherein subject-object dualism can be safely maintained. After all, samadhi as it is most frequently reported is a state of “I” slipping away for a time, after which it can emerge from its bath in nothingness fully aware of its journeying, and often proud of it to boot.
True samadhi on the other hand, true meditative absorption into the heart of reality, is a manifestation of nondualism. It is the realization and effortless expression of subject-object sameness, and embodying of the true-self, which is limitless in time and space, while somehow yet identifiable through the singular body of one’s birth (after all, form IS emptiness and emptiness IS form). It is from this samadhic state that prajna, or the spontaneous expression of wisdom before thinking, can appear.
Zen Master Seung Sahn often noted that practitioners must find “correct situation, correct relationship, and correct function.” Situation, relationship, and function in spontaneous harmony and accord is, in effect, prajna arising from samadhi.
In this it may he further understood that samadhi is not a drop into some well of neutral blankness, but a conscious swim in-and-as the dynamic tension that may be interpreted through such terms as rupa and sunyata, purusha and prakriti, yin and yang, waves and particles, etc.
It is not with any degree of levity that Zen prescribes the essentials of great faith, great doubt, and great determination. We must have some degree of considerable degree of faith that our practice can yield resolution to the matter of life and death. We must uphold a continual resolve to push beyond the limits of what we hope to be the end of the path and into the real, doubting that the full picture has ever quite entered our conscious regard. And too, we must devote ourselves to persistence in this faith and doubt, understanding sadhana (shugyo) as the only path to true liberation and awakening.
“The touch of an infinite mystery passes over the trivial and the familiar, making it break out into ineffable music. The trees and the stars and the blue hills appear to us as symbols aching with a meaning which can never be uttered in words.”