i have to be the most esoteric bitch in the sewer

CeCe Rogers on Facebook writes: "Two Black Tennessee lawmakers were physically escorted out of chambers this week while Republicans quietly held a hearing to approve gerrymandered maps that would eliminate the state's only majority-Black congressional district.

No referendum. No special election. No public vote.

Because they know what happens when voters actually get a say — just look at Virginia, where the people spoke so loudly that Republicans had to drag the courts in to override them.

This isn't new. During Reconstruction, Black Americans held more congressional seats than at any point in the prior 90 years of American history. And white supremacists spent the next several decades tearing that down, through gerrymandering, poll taxes, and voter intimidation.

150 years later, the same tools. Different suits.

The audacity of escorting Black lawmakers out of their own chambers while dismantling Black political representation, and then telling us the courts aren't political, is breathtaking. These are the same courts they're counting on to make it stick.

Here's the section that talks about this artist and poster:

Horace Mitchell was an undergraduate student at Rice University in 1968. Though he was studying physics, he was an amateur artist who loved science fiction novels and comic books. After reading about the Houston Blacklight in a local paper, Mitchell went to downtown Houston, sketchbook in tow. He sold his sketches to Jones, which would become the basis of four posters the company would publish: "The Trip," "Hassles," "Saturn" and "Chess." Mitchell was inspired by the work of the legendary Marvel Comics artists Jim Steranko and Jack Kirby, whose covers depicted towering characters set against psychedelic space-age landscapes.

"I had always sketched and drawn even as a kid," Mitchell remembered. "I got this bug that I would try to draw some big things."

The posters that went to market are different from what Mitchell drew. Some were resized, and colors were changed to be trippier under a black light. But for Mitchell, it was an exercise in representing abstract emotions and thoughts—ideas like space and time, optimism about the future—in accessible ways.

"It was sort of groundbreaking, the kinds of things they put in the posters that then wound up hanging in students' rooms because they represented ideas that really resonated with the students," Mitchell said.

That experience would serve him well in a much different role. After he finished his master's and PhD, Mitchell went on to work at NASA's Goddard Space Flight Center, running the agency's Scientific Visualization Studio in 1991, making hundreds of videos explaining everything from Mars' magnetic fields to hurricane animations. His work has been on news channels around the nation and even appeared in Leonardo DiCaprio's 2016 documentary Before the Flood. But he has always seen his work for the Houston Blacklight as the foundation of his career.

"I always had a joke: people would ask, 'Well, are you a real artist?' And I'll say, yes, I am. I'm published, but only because of those four things that got printed," Mitchell joked.