“From you have I been absent in the spring, When proud-pied April, dressed in all his trim, Hath put a spirit of youth in everything,”
— 𝚆𝚒𝚕𝚕𝚒𝚊𝚖 𝚂𝚑𝚊𝚔𝚎𝚜𝚙𝚎𝚊𝚛𝚎, 𝚂𝚘𝚗𝚗𝚎𝚝 𝚇𝙲𝚅𝙸𝙸𝙸 ‘𝙵𝚛𝚘𝚖 𝚢𝚘𝚞 𝚑𝚊𝚟𝚎 𝙸 𝚋𝚎𝚎𝚗 𝚊𝚋𝚜𝚎𝚗𝚝 𝚒𝚗 𝚝𝚑𝚎 𝚜𝚙𝚛𝚒𝚗𝚐’

Andulka
Show & Tell
Cosmic Funnies
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ojovivo
Game of Thrones Daily
Misplaced Lens Cap

JVL
Stranger Things
styofa doing anything
occasionally subtle

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Origami Around

titsay
sheepfilms

⁂
almost home
Sweet Seals For You, Always
YOU ARE THE REASON

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@asthehorsesgoround
“From you have I been absent in the spring, When proud-pied April, dressed in all his trim, Hath put a spirit of youth in everything,”
— 𝚆𝚒𝚕𝚕𝚒𝚊𝚖 𝚂𝚑𝚊𝚔𝚎𝚜𝚙𝚎𝚊𝚛𝚎, 𝚂𝚘𝚗𝚗𝚎𝚝 𝚇𝙲𝚅𝙸𝙸𝙸 ‘𝙵𝚛𝚘𝚖 𝚢𝚘𝚞 𝚑𝚊𝚟𝚎 𝙸 𝚋𝚎𝚎𝚗 𝚊𝚋𝚜𝚎𝚗𝚝 𝚒𝚗 𝚝𝚑𝚎 𝚜𝚙𝚛𝚒𝚗𝚐’
Irish Cob
Fritz Lang, woodcut prints of cornflowers and red carnations, circa 1910s-1923.
Suddenly, Last Summer (1959) Dir. Joseph L. Mankiewicz
It was legendary, it was momentary
Carnal Knowledge (1971) and Mikey and Nicky (1976) would be a really great double bill if you want to feel kinda nauseous
Plus you know May and Nichols
velvetbrowntextiles
Derry Girls 3.04
thanks google
there's 👏 still 👏 time 👏
Penda's Fen (1974) Alan Clarke
Weird Fantasy (1950) #18 written by Al Feldstein and drawn by Joe Orlando, with editor Bill Gaines
So he said it can't be a Black. So I said, "For God's sakes, Judge Murphy, that's the whole point of the Goddamn story!" So he said, "No, it can't be a Black". Bill just called him up and raised the roof, and finally they said, "Well, you gotta take the perspiration off". I had the stars glistening in the perspiration on his Black skin. Bill said, "Fuck you", and he hung up.
Al Feldstein, Tales of Terror: The EC Companion
Just to add context for those not aware of the impact of this story.
The reason it was so important for narrative purposes, was that the plot concerns the visit of the Astronaut, in his completely opaque spacesuit, to a planet populated entirely by self-aware robots (originally from Earth) who have built their own society and are petitioning to be allowed to interact with Earth again as equals.
They have a democratic government and free choice of careers etc. as the orange robot serving as guide tells the Astronaut.
The Astronaut notices that there are two different types of robot on this world; the orange ones, who are in charge, gifted access to all information and facilities. and the blue robots, who are seen as more limited in function, have less access to information and resources, and are not allowed positions of power or as wide a choice of employment opportunities. Even transportation is segregated.
The Astronaut investigates further and discovers that the blue and orange robots are actually structurally identical, there is absolutely no difference between their potential or capabilities, and it is only because the orange robots are instructed by their Educator system to consider themselves superior, that the difference exists.
The Astronaut tells the robots they are not ready for re-alignment with Earth, until they come to terms with their own unfairness, and how Earth had had to deal with this issue themselves. When that time comes, the robots will be able to ally with Earth.
Then he leaves in his spaceship, and it's only in that one final panel that we see the Astronaut is black.
Not subtle, nor should it be, but for 1950 this was a breathtakingly powerful statement, perhaps the first of it's kind in the genre.
The black character was not a caricature, or comedy relief, he was a main character in his own right, a human who "simply" was black.
When I was a professor I fucking LOVED teaching this comic. You can read the full thing here (and please read the letters to the editor at the bottom as well—including a message from Ray Bradbury).
I'm so glad people added the appropriate context here. Genuinely, this is one of the most important panels in the history of comics.
S bahn station hammerbrook, Hamburg, Germany, 1983, Schramm, von Bassewitz & Hupertz
Pictures by Klaas Vermaas
#architecturephotography #germany #1980s #dystopianscifiarchitecture
Sam Fender // Seventeen Going Under // Live from Brixton, London
Jean Paul Gaultier Spring 2006 Haute Couture
Let’s go everybody it’s time to survive