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art blog(derogatory)

Discoholic 🪩
$LAYYYTER
DEAR READER
KIROKAZE

Andulka

Product Placement

JVL
occasionally subtle
Lint Roller? I Barely Know Her

blake kathryn
2025 on Tumblr: Trends That Defined the Year
One Nice Bug Per Day
let's talk about Bridgerton tea, my ask is open
Alisa U Zemlji Chuda
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i don't do bad sauce passes

Kaledo Art
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@thecleverness
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WHO'S AFRAID OF VIRGINIA WOOLF? (1966) dir. Mike Nichols
I have fallen a long way. Clouds are flowering Blue and mystical over the face of the stars. Inside the church, the saints will be all blue, Floating on their delicate feet over cold pews, Their hands and faces stiff with holiness. The moon sees nothing of this. She is bald and wild. And the message of the yew tree is blackness - blackness and silence."
The Moon And The Yew Tree, Sylvia Plath
Baldwin wrote about that in one of his final essays: “Here Be Dragons” for Playboy. This was 1986, I think, and he was writing about androgyny and already thinking about the kinds of trans identities and trans issues that are so present with us now. He wrote that each of us contains the other— male and female, female and male, black and white, white and black—nd he was really on the vanguard. And it’s really interesting that later in his life he was really starting to understand himself as androgynous. He was starting to write his novels from the first-person perspective of a woman, a Black woman, in If Beale Street Could Talk. I wish that he were alive today to intervene in a way that Americans could hopefully understand more than some of them seem to.
Interview Magazine: Nicholas Boggs and Richie Shazam on the Love Affairs That Shaped James Baldwin
Delfin Finley
Filmmaker Darol Olu Kae had to leave home to truly appreciate it. After living in Germany for four years, Kae returned to L.A. in 2009 to discover his city brimming with overlooked Black history, which he’s since chronicled in celebrated short films that blend archival footage with his own, including 2021’s SXSW film festival hit i ran from it and was still in it and 2023’s Keeping Time. Kae is currently writing his first feature film, Without a Song, and a photo book, on the city’s avant-garde jazz scene. “There’s something beautiful about these musicians who come together just to be together,” he says.
Wall Street Journal
Sanctuary at Delphi
Miss Oyu (1951)
Sanshō dayū (1954)
dir. Kenji Mizoguchi
Douglass’ concern led him to make a startling confession to Griffiths. Five days after Lincoln’s death, he wrote: “Mr. [Andrew] Johnson is, in many respects, better qualified for the work to come than was Mr. Lincoln.” Given the evidence, Douglass’ expectation was not unreasonable. As military governor of Tennessee during the Civil War, Johnson had gained a reputation as a Southern Unionist who supported freedom for the enslaved. In October 1864, he emancipated those enslaved in Tennessee (a state exempted by the Emancipation Proclamation because it was under Union control) and told a gathering of Black Tennesseans, “I will indeed be your Moses.” Johnson spoke of a future where all “loyal men, whether white or black” would have “a fair chance in the race of life.” Within days of becoming president in April 1865, he declared of the defeated Confederates: “They must not only be punished, but their social power must be destroyed.” Douglass believed the new president would punish former Confederates in a way that Lincoln would not have. In a letter to Griffiths on April 20, 1865, he wrote that, “when confronted by apparent repentance” of former Confederates, Lincoln’s “wonderful moderation, his remarkable caution and his extreme amiability” would have softened him, sparing disloyal white Southerners “the loyal wrath their crimes have provoked.” Douglass said Lincoln would have given ex-Confederates back their land and restored their citizenship rights, requiring only the abolition of slavery—not full enfranchisement for Black men. Johnson, by contrast, had lived in slave states his entire life, and so “better understands than Mr. Lincoln did the necessity of putting down not only slavery but the slave power.” Douglass, then, said Lincoln’s assassination might strangely prove a blessing for Black Americans. “I now think that even this dreadful crime, though intended to strike down both the government and the cause of the slave, will tend to the advantage of both,” he wrote to Griffiths. The assassination would unite the North and “prevent that hasty reunion of the South with the North which boded no good to the colored race.” Douglass’ hopes were dashed, as Johnson soon showed his colors, catering more to ex-rebels than to freedmen. On May 29, 1865, he issued an amnesty proclamation, pardoning thousands of former Confederates. With Congress out of session from March until December, he also worked quickly to readmit seceded states. At the same time, Johnson refused to support the enfranchisement of Black men. In late September 1865, Douglass publicly denounced the president’s “persistent determination...to hold and treat us in a degraded relation.” After a contentious meeting with Johnson in February 1866, Douglass declared in a speech, “He who says President Johnson is following in the footsteps of his predecessor, casts foul dishonor on the name of Abraham Lincoln!”
When Historians Rediscovered These Frederick Douglass Letters, They Were Surprised by His Candid Opinions About Abraham Lincoln
Returning to O’Neill’s question, Green Arrow 5 showcases the advantages and limitations of that approach. Although the comic addresses issues of homophobia, AIDS, and gay bashing, the actual gay characters get little attention, serving primarily as motivation for the straight superhero they need to solve their problems. Because of its emphasis on action, as befits the superhero genre, the issue has no time to address the social costs of homophobia or discrimination against people with AIDS. There’s nothing in the comic about discrimination in housing, employment, or education. These are problems that cannot be solved by fisticuffs or a few well placed arrows.
When Green Arrow Bashed Back: Running the Gauntlet of Gay Representation in 1980
Alain Delon as Rocco Parondi || Rocco and His Brothers (1960) directed by Luchino Visconti.
Jeff VanderMeer explores the failure of language, climate change, the fallibility of human institutions, ecstatic visions, and much more in