Three Goblin Art
almost home
Peter Solarz
Not today Justin
🪼
Noah Kahan
Kaledo Art
izzy's playlists!
cherry valley forever
oozey mess
#extradirty
I'd rather be in outer space 🛸
macklin celebrini has autism
𓃗
tumblr dot com
occasionally subtle
RMH
Cosimo Galluzzi
PUT YOUR BEARD IN MY MOUTH
Sade Olutola
seen from Türkiye
seen from Iraq
seen from Indonesia
seen from United States
seen from Colombia
seen from United States
seen from United States
seen from United States
seen from Germany
seen from United States
seen from United States
seen from Netherlands
seen from Egypt
seen from United States
seen from Brazil
seen from United States
seen from Singapore
seen from Canada
seen from Russia
seen from Malaysia
@polianarchy-blog
Here’s a quick snippet of a Selena interview from 1995 with English subtitles! She addresses rumors about her butt and tells a funny story from her childhood.
literally me
su risaaaaa oh my god she is love
This is how I speak Spanish also she was so lovely :(
“Weaponise The Internet” - cover story for OOMK issue 4 shot by Isaac Kariuki
Models: Fatuma, Rose and Sofia
Stylist: Heiba & Isaac
Exene Cervenka
this picture is awesome
The first issue of Cheers from the Wasteland: an Online Journal specific to San Jose is out in the world, with words, images, and sounds from 10 fine contributors with San Jose ties.
www.cheersfromthewasteland.com
PLEASE SHARE.
why is this picture literally a summation of capitalism
CHROMA, San Jose. 2/3/16
Remember in 1993 when Jurassic Park was like…the end all, be all of special effects?
not gonna lie that still looks intimately real
I’m still somewhat convinced that someone sold their soul to create the special effects in Jurassic Park because that shit is over 20 years old and it still really, really holds up, better than the stuff in a lot of current movies, even.
Fucking witchcraft, man.
fucking look at this shit though
Literally see this post flying around with a few different responses added to the bottom each time so I’ll say it for this one myself:
THEY ACTUALLY BUILT A GIANT MASSIVELY DETAILED FUCKING ANIMATRONIC T-REX FOR ALL OF THIS THAT’S WHY THE EFFECTS ARE SO GOOD. CAUSE IT AIN’T CGI. AND IT AIN’T GUY IN A COSTUME. IT’S A BIG FUCKING ROBOT DINOSAUR. AND EVERY PART IS DESIGNED TO MOVE. IT COST LIKE HALF THE BUDGET OF THE FILM.
amazing
And they had the film it in small increments, especially in the outdoor scenes, because the rain fall kept soaking into the ‘skin’ of the rex and would slow down and mess up its movements. So they would stop filming and have a crew out there drying off this massive, fake dinosaur, and then they’d start filming again until it was too wet. Repeat until the end of the scene.
They used animatronics and detailed costumes for most if not all of the dinosaurs in the first movie.
The triceratops for instance, was also animatronic.
And the raptors were dudes in suits. I shit you not.
One of my favorite anecdotes I’ve read on tumblr is how the t-rex robot from Jurassic park would malfunction while it was drying out. How did it malfunction, you might wonder?
Motherfucker randomly started moving.
So apparently if you were on the jp set you would sometimes hear people screaming bloody murder even though they were all well aware that it was a giant animatronic puppet and wouldn’t actually, you know, eat them.
(link to said post about malfunctioning t-rex)
Did not know this, had to reblog for awesome movie history insights.
So, I knew about the animatronics bit but I did not know the raptors were guys in suits and the malfunctioning t-rex sounds terrifying.
And i just googled malfunctioning t-rex and was not disappointed. Apparently in order to put the skin on over the steel frame a guy had to crawl inside the t-rex while it was turned on and glue the skin down. And if somebody turned the t-rex off or the power went out the guy in the t-rex stood a very real chance of getting mangled and killed by the hydraulics.
So of course, the power goes out.
And this guy is still in there gluing the skin down.
Apparently the way to survive getting sheered to death by huge sheets of metal while you’re inside a giant t-rex robot is to curl into a ball and hope for the best.
And this guy hoped for the best and got it.
Some other people on stage pried open the t-rex jaws and glue guy crawled out of its mouth and was totally okay.
This is getting better and better.
I think they only had like 6 minutes of CGI
I’m just waiting for the T-Rex to come to life and leave its stand.
@spinosaurus-the-fisher is this the kind of content you love?
Realism comes at a cost, it seems.
i mean ok but why has nobody posted this:
It’s a three piece raptor suit.
Old movies had the best special effects
@geekyphan
Practical SFX always win
The live music audience, for the most part, is made up of people in their twenties — mostly because people in their twenties in major cities can afford to go to shows and stay out late. They’re just competing for the same small piece of the pie as everyone else, without addressing a bigger problem — concerts are off limits for people older than 30, for the most part. The real problem for many people isn’t that they don’t want to see music, it’s that they can’t stay out until midnight when they have careers and kids to think about. Rather than innovating around that problem, most concert startups simply write off older audiences and assume that only young people want to see music and just need new ways to access it.
Music Startups and the Passion Problem — Cuepoint — Medium (found via @rocketsandrayguns)
Also that we want to stand up for three or four hours. The pit is for young folks, but older folks and anyone with partial disabilities is going to want to sit. My favorite venue right now has a floor for standing folks and a mezzanine and balcony with great sightlines for those of us who want to sit.
(via immlass)
oh man this song makes me want fall to be here NOW.
Love this pic of me and my g-ma so much and now it has a different meaning <3
One day I’ll own East Side Story Volume 1-12…
My 1985 Astronaut Barbie
This is the money pentacle. Reblog and unexpected money will come to you!
This is the desperately broke unemployed librarian.
THE BRAT
crafted this just for you
Since reality television stresses me the fuck out, I only know about Big Ang because of Tumblr. I love her persona, what glimpses GIFs afforded me, and I'm sorry she passed away so young.
CHICAGO, IL
hey! so I’ll be in chicago at the very end of april for @chicagozinefest
I’m looking to maximize my trip out to the midwest by facilitating a workshop + talk night / zine release / lil teeny pop up before or after the fest, as a satellite event to show and distribute my work .
i’m calling out for: diy spaces, diy organizers, bookshops, low key venues, even like a rad home open to host an event for a night? any tips or resources would be very appreciated /\/\/
**PS** I’m looking to facilitate/collaborate with whoever is interested to help me create & host an inclusive event. I want to work mainly with woc & poc in the chicago diy art community to put this together. I emphasize this because, as a white-passing woc (1st gen. colombian), I feel drained and isolated by exhibiting and working in mainly white dominated art events and spaces. I’m tired of emailing successful white publishers/artists if they can help me publish my work or give me any tips. I’m tired of feeling surrounded by a flood of work/artists that use their platforms as validation for their own (usually appropriated) aesthetics? or like just regurgitate the same, tbh, mediocre imagery and work for the sole purpose of image-making for image makings sake? I can’t deal honestly.
I create my work in a vacuum and I wanna tear a hole in that vacuum and spill forth, but I want agency/autonomy in that. I don’t feel comfortable, welcome, or at home in most spaces or groups or genres of contemporary diy publishers/comic/zines scenes. I feel genre-less and scene-less, which can give me deep pangs of anxiety about being an artist. but also, it feels pretty freeing because that means I get to self-define and self-construct. but also, I’m realizing that solidarity and support are factors that we can’t exist without.
I create/exhibit work to open up conversations about mental health, critique/observe contemporary culture, examine intersectional tensions of existing in between worlds and not landing anywhere, and how to heal in the perpetual psychic/emotional violence of capitalist patriarchy. I’m just tired of shallow ass artists and their work honestly, and it’s usually made by people that don’t have internal healing or socio/cultural awareness on their agenda. and it’s boring the hell out of me, not just as an artist but as a consumer of art. @lora-mathis and I started thinking about this at a show in l.a. and we hope to further expand this conversation. also @varsityqueerleadercaptain , discussions about feeling at home NO-where.
my point is: I need to work with people that have no other agenda besides healing, expansion, and connecting. if that’s also what you’re looking for, literally any and all are welcome to engage with my work. I will never get tired of anyone reaching out to me saying my work helped them, saved them from a big mistake, or just got them through a day. I don’t care who you are- if you connect with my work and it helps you/affects you/adds to your life. I hope that distinction is clear?
please message me or email me if this resonates with you and you’re capable/interested in working with me! any tips are also super welcome.
woah so that was supposed to be like a few sentence long and it turned into this statement, so thanks for your patience/attention
/\/\/\
