Finally felt motivated to offer commissions! Reblogs are appreciated ^^
hello vonnie
ojovivo
noise dept.

Product Placement
RMH
cherry valley forever

if i look back, i am lost
Not today Justin
🪼

titsay
wallacepolsom

he wasn't even looking at me and he found me

izzy's playlists!
$LAYYYTER
occasionally subtle

Origami Around

Kaledo Art
will byers stan first human second
Keni

seen from Singapore
seen from United States
seen from United States

seen from Malaysia
seen from United States
seen from Malaysia

seen from United States
seen from United States
seen from Netherlands

seen from Malaysia
seen from Brazil

seen from United States
seen from Italy
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@gracestgalaxy
Finally felt motivated to offer commissions! Reblogs are appreciated ^^

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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“Freedom always has a price.”
― Persepolis (2007) dir. Marjane Satrapi, Vincent Paronnaud
Harry Fonseca 1979, “Coyote, When Coyote Leaves the Res”
Acrylic on canvas
Harry Fonseca began his art career using imagery from his Native American Maidu heritage in his art. His Coyote Series of paintings started in 1979. These works use the coyote as the trickster of Maidu ancestral stories, depicted in nontraditional clothing and settings. In this painting Coyote is dressed in black leather and other aspects of queer-dress experienced by the artist in San Francisco, expressing Fonseca's personal narrative as a gay Native American living off-reservation.
[source: Swann Galleries]
6 colorful vintage eBay bunnies...
Animation I made as a tribute to Louis Wain, both to his art and him as a person, I hope my animations convey how comforting I find his art. Each cat is drawn on paper❤️ “I am happy because everyone loves me”

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my ponysona🐎
Otto Bache, Dogs Not Admitted (1870)
together forever
The True State Of Our Souls 🐾🌈

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Transcription, because it is worth reading:
There’s a phenomenon I actually see extremely commonly when literature is used to teach history to middle school and high school students. Let’s call it “pajamafication.”
So a school district nixed Maus from their curriculum, to be replaced by something more “age-appropriate.” IIRC they didn’t cite a specific replacement title, but it will probably be something like John Boyne’s “The Boy in the Striped Pajamas.”
The Boy in the Striped Pajamas is tailor-made for classroom use. It’s taught at countless schools and it’s squeaky-clean of any of the parent-objectionable material you might find in Maus, Night, or any of the other first-person accounts of the Holocaust.
It’s also a terrible way to teach the Holocaust.
I’m not going to exhaustively enumerate the book’s flaws—others have done so—but I’ll summarize the points that are common to this phenomenon in various contexts.
First, obviously, the context shift. Maus, Night, et al are narrated by actual Jews who were in concentration camps. The Boy in the Striped Pajamas is narrated by a German boy. The Jewish perspective is completely eliminated.
Second, the emphasis on historical innocence. Bruno isn’t antisemitic. He has no idea that anything bad is happening. He happily befriends a Jewish boy with absolutely no prejudice.
Thus we’re reassured that you too, gentle reader, are innocent. You too would have have a childlike lack of prejudice and you too would be such a sweet summer child that you would have no idea the place next door is a death camp.
In Maus, by contrast, the children are not innocent. They are perpetrators of injustice just like adults.
[ID: Picture of part of a page of Maus where children run away yelling “Help! Mommy! A Jew!! - the next panel says “The mothers always told so: ‘Be careful! A Jew will catch you to a bag and eat you!’ …So the taught to their children.”]
Maus also smashes the claim that people just didn’t know what was going on in the camps.
[ID: Picture of part of a page of Maus where a Nazi truck is arriving at Auschwitz guarded by men with sticks and a pointing, growling dog, the boxes say “And we came here to the concentration camp Auschwitz. And we knew that from here we will not come out anymore…” “We knew the stories that they will gas us and throw in the oves. This was 1944… we knew everything. And here we were.”]
Third, nonspecificity. The Boy in the Striped Pajamas turns a specific historical atrocity into a parable about all forms of bigotry and injustice. I’m sure Boyne thinks he’s being very profound. But the actual effect is to blunt and erase the atrocity.
There’s the too-cute-by-half way it avoids terminology: “Off-With,” “the Fury.” Harsh language becomes “He said a nasty word.”
Notice how “it’s a fable” ties in with the goal of eliminating anything parents might object to.
And that’s our fourth point. Bad things can happen, but only abstractly. Someone’s dad disappears. He’s just…gone. How? Who knows. People stand around looking hungry and unhappy and saying “It’s not very nice in here.”
The ending is sad, but it’s sad like a Lifetime movie. It’s sanitized, it’s quick, there are no details, it’s meant to poke that bit of your heart that loves crying.
Maus’s description of the gas chambers, meanwhile…
[ID: Picture of part of a page of Maus where the process of gassing and then taking out the bodies are described in detail as inmates are working. That it took 3 to 30 minutes to gas people. That the largest pile of bodies was by the door. The worker telling the story mentions “We pulled the bodies apart with hooks. Big piles, with the strongest on top, older ones and babies crushed below… often the skulls were smashed…” “Their fingers were broken from trying to climb up the walls… and sometimes their arms were wera as long as their bodies, pulled from the sockets.” Until the narrator says, “Enough!” “I didn’t want to more to hear, but anyway he told me.”]
A historical atrocity can never be a metaphor for all bigotry because the specifics are what makes it an atrocity. The Nazis didn’t just do “bad things, generally,” they did THESE things. And leaving out the details is simply historical erasure.
Finally, fifth: Fiction.
However much poor little Bruno and Schmuel might rend your heartstrings, you can ultimately retreat into the knowledge that they aren’t real and they didn’t really die.
Now, I write historical fiction, and obviously I believe it has a place, in the classroom and out. But no Holocaust education can be complete without nonfiction that teaches about real people who genuinely did experience it.
One of the striking things about Maus is how big the cast is and how few of them survived.
[ID: Picture of part of a page of Maus where one character describes to another many other people who didn’t make it. Eventually covered over in lower panels by pictures of the dead.]
Because it’s a true story, Maus can also explore neglected aspects like the intergenerational trauma, which simply vanish in a pat fictional story that is just finished when you get to the end.
[ID: Picture of part of a page of Maus where the illustrator sits at the drawing desk above the pile of bodies. The artist says: “At least fifteen foreing editions are coming out. I’ve got 4 serious offers to turn my book into a TV special or movie. (I don’t wanna.) In May 1968 my mother killd herself. (She left no note.) Late’y I’ve been feeling depressed.” Someone calls from out of panel, “Alright Mr. Spiegelman… We’re ready to shoot!…”]
Thus, books like The Boy in the Striped Pajamas are not an age-appropriate equivalent way to teach the Holocaust, but a false construction of history.
This ends the first part of the thread. But there’s more…
The Maus incident is not an isolated case. It’s part of a broad trend of replacing the literature used to teach history with more kid-friendly, “appropriate” alternatives.
And outside of the Holocaust, it usually doesn’t meet with much controversy.
It might mean replacing Narrative of the Life of Frederick Douglass, an American Slave or Solomon Northup’s Twelve Years a Slave with modern historical fiction, for example.
Wars, the Civil Rights movement, Apartheid: any “icky” part of history can be a target.
But it plays out along the same general lines: Primary sources replaced with modern fiction, victim perspectives replaced with perpetrators, specificity replaced with Star-Bellied Sneetch-style “Why can’t we all just get along?” metaphors.
this messed up vintage cat sewing pattern has tormented me since i saw it & like some other folks have done in that post - i tried my hand at tweaking the pattern to resemble the illustration (and my personal tastes) a little more. i've ended up with this, which i have only tested at a small scale and not this final version exactly (where i have done such things as further widening the cheeks and finalizing the leg shapes.) i bestow it upon you nice folks now 👐
go forth and make weird little beanbag kittens! pls show me if you do!
woah this got big!! and after another try i have another untested tweak for yall. this should help the weird pinchy side seams out. yey
My first attempt! I made the pattern a bit smaller as I wanted it to be able to fit in a pocket, but then (accidentally but perhaps unavoidably) sewed it with a wider seam allowance than the resized pattern indicated, so the face is proportionally a bit too big and I lost some detail in the ear shape. I'm pleased with it though! It was fun to make something and to do some handsewing.
SOO CUTE AND TINIE 😭
I tried this pattern a while back to try out some minky and I get no points for making the pattern well but looook at my boyyy
His name is Tofu. Thank you for sharing the pattern I will love him forever
Ever since starting to publish romance novels I’ve been checking out the romance books at the thrift store specifically for the clinch covers, as a reference for what I might want to do with my own books.
As a culture we mocked these to extinction but I think we were just afraid of their power. The modern clinch revival still hasn't reached the heady heights of what they were doing in the 80s! The vintage covers can be really quite explicit. These ones in particular were steamy enough they had to be hidden on an inner flap.
This episode of the Smart Bitches Trashy Books podcast where they interview Shirley Green and Sharon Spiak, who were romance novel cover artists in the 80s, is a fascinating look at what a huge industry these covers were. Did you know they had whole photography studios full of props to make these? They’d take photos and turn those over to a painter who’d make something like a couple of these a day. They had it down to a science.
Here is a particular favourite of mine, also by Sharon Spiak!
he's ready
you mihght hate me Xx//IH8Animatrz//xX but i wont hate tyou. get drawed.
The Merrie History of Looney Tunes by KaiserBeamz
Part 1:
Part 2:
Part 3:
Part 4:
Part 5:
Part 6:
Part 7:
The 8th (and final) part is finally here:
@ducktracy

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Decided to use these drawings of my oc Minerva as key poses and animate her!
Justin posted the 1956 house he and his wife bought in Jasper, Indiana. It is a complete time capsule. Absolutely NOTHING has been updated or touched.
Everything is still here- look at the appliances. All original. This is not like the classy expensive updated mid century homes we’ve seen before.
The furniture has to be the original pieces and sets the previous owners bought.
The wall hangings are aged.
This is an interesting piece, this bar.
Look at the bathroom- pink fixtures.
Those lamps!
The master bath has a yellow tub and fixtures.
A 2nd bdm. Even the bedding is vintage.
And, this bath has blue Fixtures. Wow, I would definitely keep them.
More cool lamps and original furniture in the knotty pine family room.
Wow, look at the built-ins in the office.
The lower floor.
The basement is cool- look at that floor! And, the TV. The bar is classic. I wonder if they were leaving any of this.
Off the rec room is a 2nd kitchen. A pink fridge!
And, there’s this room, too. Look at the stone wall.
for the love of old houses
I’m reblogging this just because it’s great reference. Who knows if i ever get the chance to draw a fifties living room?
@teatotally – please join me in whimpering with a strong need to go to there.
Wow, honestly this is the first time I’ve seen a pristine 50s house that made me go “Oh THAT’S why they made those choices”??? Like, you usually only see old houses looking VERY worn-down and kinda sad, but this looks like we time-traveled into the past when it was new and tidy, and suddenly some of those choices that feel odd today make SENSE, because while they were new and loved, the now-odd furniture and appliance colors and whatnot look NICE. It’s still an “outdated” style but it doesn’t look “old.” Very neat glimpse at history!