كلمة عتاب، يا حب

[didanagy]

WINONA RYDER as JO MARCH

LITTLE WOMEN (1994) dir. gillian armstrong

[catchymemes]

[indicawhite]

John Travolta as Danny Zuko in Grease (1978) dir. Randal Kleiser

[dappermouth]

And then you had that dream again.

[sxpxrmxrgxr]

[snailychan]

Reflecting

[lehooes]

source

[gifs-of-puppets]

The Muppet Show (1976-1981)

[sfemonster]

Empty Beasts - a selection of eight drawings from an original series of 12.

i love to draw a creature.

[jeleynai]

I managed to finish this just in time! Almost missed MerMay..

Thank you to the lovely person on Patreon that requested a Mer version of the boys <3 I only did Ghost for now but I had SO much fun <3

As always, early access, WIPs and other goodies are on my Patreon!

[organicmatter]

i fucking love when halloween music is just surf rock with a ghoul laughing in the background

[dafancyuhinspiration]

[pangur-and-grim]

yucky together

[thebristolboard]

“The Militarization of the Police Department – Deadly Farce,” an original painting by Richard Williams from “The 20 Dumbest People, Events, and Things of 2014″ in Mad magazine #531, published by DC Comics, February 2015.

[spaceraptor]

Here’s the original, for comparison. And here’s a bit more about the artist and why he created the piece above for MAD Magazine.

[pennamerequired]

Richard Williams on Norman Rockwell:

“For most people, he was the painter of ‘America,’” he added. “But even he said his vision was what he wanted ‘America’ to be. It was a mythical ‘America,’ a place where all people were decent, honest and full of good will. His work was full of gentle humor that made you feel a little better; even if you knew it wasn’t really true… you just wished it was. My parody of Rockwell’s painting simply says, ‘That myth is dead.’”

[1-420-666-6969]

I think it’s relevant to add that even Norman Rockwell chose to leave his cushy job at the Saturday Evening Post because he wanted to make artwork that was more radical. The Post had rules that wouldn’t allow him to do artwork depicting black people as anything other than servants. The job paid really well and that was a huge reason he continued on. But he wanted change that and so he moved to Look magazine.

A lot of people know about the very first piece he did when he left the post which was the The Problem We All Live With which depicts Ruby Bridges walking to school under federal protection.

But I don’t think enough people know about Murder in Mississippi which depicts three real civil rights activists who were murdered by the Ku Klux Klan and sherriffs. The magazine ran the sketch instead of the finished piece because they felt it had a more striking statement to accompany the article. Norman Rockwell would finish that version after publication which is here

Rockwell’s legacy is sanitized because he decided to maintain his job at the Post for so long despite his frustrations with not being able to express himself. The civil rights movement was just his final straw to change what he could with the little time he had left. Look magazine received a lot of hate for Rockwell painting these as well.

Another favorite piece of mine is The Right to Know which depicts an integrated populace questioning their government. In 1968, the year of Vietnam and the year the Fair Housing Act only just got signed in months prior:

But I think it’s important to include the caption Rockwell originally wrote for the piece as well. I think it represents how a 74 year old Rockwell felt about the America he believed in and the people in it:

We are the governed, but we govern too. Assume our love of country, for it is only the simplest of self-love. Worry little about our strength, for we have our history to show for it. And because we are strong, there are others who have hope. But watch us more closely from now on, for those of us who stand here mean to watch those we put in the seats of power. And listen to us, you who lead, for we are listening harder for the truth that you have not always offered us. Your voice must be ours, and ours speaks of cities that are not safe, and of wars we do not want, of poor in a land of plenty, and of a world that will not take the shape our arms would give it. We are not fierce, and the truth will not frighten us. Trust us, for we have given you our trust. We are the governed, remember, but we govern too.

[ometochtli2rabbit]

[camewiththeframe]

[persephonesstrap]

This is worse. Looking at these you can tell they have no significant monetary value. They were confiscated as a fear tactic. Nothing more.

[arithanas]

This picture breaks my heart everytime it appears in my dash. It’s a fear tactic, alright but—

The first one in the left corner: It’s a first communion rosary, and it’s not cheap.

The black one in the first line: That’s a widow rosary and it’s old.

The white one in the second line:  is a commemoration rosary. It has a miniature picture in the round part. I haven’t seen that since the 70′s.

In the third line, multicolor one: It’s an Anima mundi, I have only seen those in the hands of Rosary ministery’s old ladies. The oldest ones are from the 80′s after Juan Pablo II came to Mexico for the first time. It’s one of the old ones, I know because the crucifixes are different.  The third one on the fourth line: Red and gold. The style is old, the metal is dark, that’s a 50′s rosary, probably a quinceañera one (or it’s maybe older, from the 40′s when the brides carried red roses with their offerings).

The fifth one on the fourth line: It’s a quinceañera rosary with Ignatius’s tear. The style is old and in my part of Mexico is orphan girls who used it. At least it was when I was young. The third one of the fifth line: the blue one with the anchor. That one I have only seen in Veracruz and it doesn’t look new. The fifth one on the fifth line: That’s a 90′s wedding rosary. Black and white patterns were popular on that date. The fourth one on the last line: That’s a first communion rosary from the 30′s. It’s delicate and most probably silver. The rest wrench my heart too, the humble everyday rosaries with wooden beads and knots. Those are cheap and bear the wear and tear of their user handling. But those  I described are much more.

Those are mother’s rosaries.

Those are not just rosaries. Those are mementos, that’s the proof of their families stories. They are taking from them the only portable things they can carry to feel the connection to their families. It’s not a fear tactic. Call it like by its name. It’s dehumanization.

[lkblackham]

There is absolutely nothing ICE could have gained by confiscating these rosaries. Absolutely nothing. They did it to be cruel. It is, indeed, dehumanization.

[freedrawing]

Analyzing Children’s Art, Rhoda Kellogg 1970