Sophianotloren

 

 

*wipes tears*

Some highlights:

• Never speak in run-on sentences. Use only sentences that Hemingway would use. Speak curtly. Speak of fish and fighting, and the deep wisdom no woman can know. Speak of hills and strong liquor. Speak of Scott Fitzgerald and his fatal weakness.
• When you form words at all, which should be but rarely, make certain they come out in a low, gravelly growl, like a hungover Joe Cocker who has just gargled shards of glass. Strive to sound like a cigarette would sound if it could talk. Strive to rumble like thunder that has taken a class to counteract its vocal fry. If you sound like the love child of Darth Vader and a female Ent, you have achieved your purpose. Speak so that those who hear you wonder aloud and say, “Surely this speaker is a man. Or a grizzly bear who has swallowed a man whole.”
• In general, communicate only by tearing off the arms of those with whom you are displeased. Wave these arms like flags, in a kind of gruff semaphore. To express feelings, roll rocks downhill with rude emoji carved on them.

Done done and done, milady.

New York City has public art that’s older than the city itself. Stones carved before Manhattan was an overgrown island glimpsed in Henry Hudson’s eye are on public view, outside of museums. Although they journeyed thousands of miles across the oceans and centuries across time, these artifacts of antiquity often go overlooked.

Column of Jerash (c. 120 CE)

Flushing Meadows Corona Park, Queens

Just a short walk from the Queens Museum in Flushing Meadows Corona Park, a 30-foot tall marble column first erected in 120 CE stands in the shade of a tree grove. The Column of Jerash arrived in New York City for the 1964 World’s Fair, part of Jordan’s pavilion. According to NYC Parks, the Jordanian pavilion was one of 36 foreign countries participating in the fair, with their space featuring domes adorned with gold mosaics. Despite the focus of the fair being the Space Age — the pavilion was alongside the Court of the Astronauts — the ancient column was Jordan’s celebratory gift to the city. It was originally part of the Temple of Artemis in Jerash, and is also known as the Whispering Column of Jerash as in a temple you could stand in the center of the Corinthian columns and hear your whisper resonate around the walls.

Remains of the World’s Fair are scarce, yet the column encircled by low shrubs mostly goes unnoticed in its quiet part of the park, and the Jordan pavilion tends to be remembered more for its caustic anti-Israel mural.

Cleopatra’s Needle (c. 1450 BCE)

East Side of Central Park at 81st Street, Manhattan

Cleopatra’s Needle in Central Park is the city’s best-known antiquity on public view. The Central Park Conservancy cites it as the “oldest outdoor monument in New York City.” Part of a pair, the obelisk was erected in about 1450 BCE when Pharaoh Thutmose III commissioned it for a Heliopolis sun temple. Despite the name, it really has nothing to do with Cleopatra. Alongside the Nile it towered for centuries, until 1869 when it was gifted to New York City. Previously in 1819 its fellow Heliopolis column was given to England, and it stands on the Victorian Embankment of the Thames in London.

The adjacent Metropolitan Museum of Art explored the obelisk’s journey to New York in a 2013–14 exhibition. The 69-foot, 220-ton stone monolith first sailed across the Atlantic Ocean, then up the Hudson, before processing to the park and standing as tall as when it was completed in ancient Egypt.

Pompeii Columns of Delmonico’s (pre-79 CE)

56 Beaver Street, Lower Manhattan

On either side of Delmonicos, one of the city’s oldest restaurants, are two Corinthian columns that were supposedly brought over from Pompeii. However, their exact provenance is vague, and the Landmarks Preservation Commission safely gives them a “reputed” ranking.

Either way, they do appear quite old, and have a deep history with Manhattan. They were originally installed at Delmonico’s on Williams Street, which was wrecked in the Great Fire of 1835 (along with much of Lower Manhattan). No one apparently found there to be anything ominous about the columns being linked to the eruption of Mount Vesuvius in 79 CE and the destruction of the Roman city of Pompeii, and also the ravaging of New York City by flames. So when Delmonico’s rebuilt, the columns were salvaged for a place of honor on either side of the entrance.

Roman Urn of Grace Church (c. 37–68 CE)

Broadway at East 10th Street, Manhattan

For over a century on the lawn outside of Grace Church on Broadway and East 10th Street in Manhattan, a terra-cotta urn dating to the era of Emperor Nero has contrasted against the building’s spindly Gothic architecture. A 1916 issue of Crockery and Glass Journal (which, alas, does not publish in the 21st century) stated that it once had a plaque that read: “An amphora, or Pompeiian urn, about 3,000 years old, excavated some years ago, and one of the four now in existence, is set on the grounds north of the church.”

A March newsletter from the church stated that it was recently in need of repair due to a piece falling off, and was subsequently dismantled for conservation by Center Art Studio. Their missive explains that it arrived at Grace Church in 1885, excavated in Rome during the construction of the Church of St. Paul within the Walls. The then-rector of the church brought it to New York as part of a pair, although one caught the gaze of a parishioner and it subsequently continued its journey to Newport, Rhode Island.

Roman Columns of Untermyer Gardens (Ancient Rome)

945 N Broadway, Yonkers, New York

For a bonus inclusion, just north of New York City in Yonkers are two stunning ancient Roman columns overlooking the Hudson River. Installed at Untermyer Gardens, the estate of Samuel Untermyer from 1899 to his death in 1940, they are positioned at the end of 135 steps flanked by Japanese cedars.

According to the Untermyer Gardens Conservancy, the columns originated at the estate of architect and artist Stanford White. Standing 23 feet tall and carved from Cipollino marble, they’re considered by some to be the tallest ancient columns in the Western Hemisphere created from one piece of stone. Untermyer was inspired by the stairs at Italy’s Renaissance-era Villa D’Este, where steps lead down to Lake Como. Here in Yonkers, they bring visitors to the Hudson, and the columns frame the view.

With a population of over 20 million in its metropolitan area, Mumbai is one of the biggest cities in the world, and taxis are integral to its transportation. Five of the over 50,000 taxis operating in the city area were recently reupholstered with fabrics created by local, emerging designers.

Taxi Fabric was started by designer Sanket Avlani, and the initiative is currently fundraising on Kickstarter to transform another 25 taxis. Until this campaign, it’s been a self-funded project, offering a showcase for designers in a city where those opportunities are limited. As the crowdfunding page states, design “can often be taken for granted in India,” and the taxi interiors invite thousands of people to experience the impact of design in the four to five months each interior is on the streets.

Mumbai taxis are frequently individualized, with eye-catching typography and drivers’ personal curios adorning the interiors, while upholstery is often just functional. Taxi Fabric connects young designers with drivers to collaborate on the fabrics, installed free of charge, which act as visual narratives on the city. For example, Avlani’s own “Number Game” celebrates the dabbawallas who make deliveries around the city with a vibrant pattern of dabba carriers, referencing the color system utilized for identifying zones of Mumbai. Pranita Kocharekar’s “You & I” has people from the cityscape frozen in motion, some animated in two-dimensional still frames as they walk. Each interior includes a label with the artist’s name, story of their design, and how to get in touch.

Similar to the Bibliotaxi in São Paulo, Brazil, which enlisted taxis as mobile libraries that facilitate book exchanges with seat back holders, Taxi Fabric is interested in how this existing transportation space can be a greater part of the community. The fabrics enliven the interiors, making taxis stand out for the drivers, and travelers can experience how design transforms even something as utilitarian as a seat covering in a car.

Taxi Fabric is fundraising on Kickstarter through August 11 . 

If you want to know where Hasan Elahi is, just check his website. Every day for the past decade, the University of Maryland art professor has voluntarily updated his location and posted snapshots of his day online so the Federal Bureau of Investigation (FBI) can more easily track him. Altogether, he’s uploaded about 72,000 images, some of which are currently on view at the Open Society Foundations in New York in the installation “Thousand Little Brothers” (2014). “I trust that the FBI has seen all of them,” he told Hyperallergic.

The project started after an acquaintance reported him to the authorities as a terrorist suspect following the attacks of September 11, 2001. Though his FBI interrogator quickly figured out they’d received a bogus tip, Elahi was already in the system. Papers had to be filled out, a process followed, superiors satisfied. Though his name was supposedly cleared in 2002, Elahi said the databases weren’t completely updated across various agencies until years later, so he kept having run-ins with the Department of Homeland Security when he traveled.

Making the mundane details of his life publicly available became “a very pragmatic solution to keep from being shipped off to Guantanamo.” He still faithfully updates his location every time he makes a major move — from his house to the gas station, from the gas station to his job. And he takes pictures of literally everything he does, whether shopping at the grocery store, eating at his favorite Chinese restaurant, or peeing in the bathroom. Strangely enough, Elahi says doing so has allowed him to live a relatively anonymous, quiet existence. “I like to think of it as aggressive compliance,” he said. “I’ve always been fascinated with Magellan and the concept of circumnavigation: going far enough in one direction to end up in the other.”

But while the project started out as a response to state surveillance, it’s become a parody of the way people now put their entire lives online for anyone — friends, stalkers, government agents — to follow. And it’s remarkable how quickly it’s happened: when Elahi first started photographing his meals, his friends thought it was weird. Now everyone does it, and some restaurants even have no-photo policies. Elahi doesn’t think what he’s doing is any stranger than if he were constantly tweeting, checking in on location apps, or posting photos on Facebook. “These days, we’re so wired 24/7 that you have to go out of your way not to be connected,” he said.

He’s still never heard directly from the FBI about the project, but he says he knows they’ve checked it out because their hits are logged on his server. It happened a lot during the Bush years, less so after Obama came into office. “I really don’t know why all these government agencies are interested in my work,” he said, “but I’m hopeful they have an appreciation for art.”

Hasan Elahi’s “Thousand Little Brothers” is on view as part of Moving Walls 22: Watching You, Watching Me at the Open Society Foundations — New York (224 West 57th Street, Midtown, Manhattan) through September 11.

The founder of the controversial, soon-to-open Jack the Ripper Museum — initially presented as a museum that celebrates women in London’s East End — is defending his vision of it as a site to explore local women’s history and stories. Reports, however, suggest that he had always intended to establish a museum devoted to London’s most notorious serial killer, misleading officials and East End locals along the way.

Yesterday, the London Evening Standard first reported that former Google diversity chief Mark Palmer-Edgecumbe submitted a proposal last July promising his institution would open as “the first women’s museum in the UK.” Tower Hamlet council approved his plan later last year. The museum instead has revealed itself as one devoted to the unsolved, serial crimes of Jack the Ripper, who brutally murdered a number of women in the late 19th century. Uproar has followed the revelation of the museum’s true subject, with residents saying they were “completely hoodwinked and deceived” and others accusing the institution of glorifying gendered violence.

Palmer-Edgecumbe, who served as human resources director of several museums in South Africa before joining Google, argued that the proposal was genuine but then evolved over time. “We did plan to do a museum about social history of women,” he told the Evening Standard, “but as the project developed we decided a more interesting angle was from the perspective of the victims of Jack the Ripper.”

However, Palmer-Edgecumbe had previously co-registered an office on March 23, 2012 under the name “Jack the Ripper Museum Limited,” then located in Kent; its status is now listed as dissolved as of March 25, 2014, with net assets of negative £738 (~$1,150). Tower Hamlet council received Palmer-Edgecumbe’s application for the museum of East End women’s history just five months later. His plan at the time promised “a world class museum that celebrates the historic, current, and future contribution of the women of the East End.” The 35-page proposal also included several examples of proposed content, from a survey of the development of women’s working conditions to an examination of the Suffragette movement.

“Our mission is to inspire a passion for, and understanding of, the history of women in East London and beyond,” the application reads. “We will do this through increasing public awareness, appreciation, and understanding of the role of London’s women in the social political, and cultural heritage of London.”

Apparently the history of London’s women most in need of understanding is the one associated with the city’s most notorious murderer, who butchered his female victims in grizzly settings and circumstances. The museum, whose logo is the silhouette of a man in a frock coat and top hat with a pool of blood by his feet, is now slated to feature four floors and a basement mortuary of original and representative of artifacts. Newspaper clippings of the crimes provide the narrative, while medical instruments and knives allude to the violent murders. On view in the basement, “for over 16s only,” are the original, explicit autopsy photos of the victims. Somehow, Palmer-Edgecumbe claims that this deviates only slightly from his proposal of July 2014.

On the museum’s website, a message from Palmer-Edgecumbe also cites his original intentions, claiming that the museum “in no way glorifies or glamorises Jack the Ripper, quite the opposite, it presents the women of the East End’s story for the first time.” The Ripper crimes, Palmer-Edgecumbe explains, will shed light on the social context of East End during that era, touching upon issues such as poor living conditions and economic hardship.

It’s unclear when Palmer-Edgecumbe decided on his “more interesting angle” to approach the history of London’s women, but North London writer Chris Brosnahan — who discovered Palmer-Edgecumbe’s first museum registration — claims that the alleged turn of events happened this year. If that’s true, Palmer-Edgecumbe’s proposal, with its images of women fighting for fair wages and the recognition of black trade unions, was likely intentionally misleading since the museum’s team started collecting Ripper-related artifacts just five months after it submitted its proposal. As historian Rebecca Rideal discovered last December, a private collector had purchased items belonging to a police officer involved in the Ripper case, paying over five times their expected value. A link to a BBC News article about the auction appears on the museum’s “Press” page and those Ripper items, as Rideal noted, will surface in the new museum’s third floor, which is set up as a police station in which the objects will be presented as “one of the rarest Ripperologists collections of recent times.”

Palmer-Edgecumbe assured the Evening Standard that his museum “is absolutely not celebrating the crime of Jack the Ripper but looking at why and how the women got in that situation in the first place.” Only the first visitors exploring the museum after it opens (“next Tuesday,” according to the Evening Standard) will be able to tell if it achieves that goal — that is, if it opens. Locals are reportedly attempting to overturn the council’s decision, although Tower Hamlets said it ultimately has no control over how the museum plans its exhibitions. It is, however, “investigating the extent to which unauthorised works may have been carried out.” Hyperallergic reached out to Palmer-Edgecumbe but has not yet received a response.

Notably, the museum intends to donate a portion of its profits to “local charities that promote women’s rights and challenge child trafficking, domestic violence, and sexual exploitation. The first charity we will donate to is www.evesforwomen.org.uk.” The link (which has since been removed) was broken, and although I assume Palmer-Edgecumbe had good intentions — as he allegedly did for his museum — and meant to share the website for Eaves Housing for Women, somehow such efforts seem to be implemented more for the sake of public appeasement than out of a sense of genuine goodwill or philanthropy. Meanwhile, a group dedicated to the history of East London Suffragettes hopes to make good on Palmer-Edgecumbe’s alleged project by establishing an actual East End women’s museum, calling for support on social media.

Last month archivists rediscovered twenty poems by renowned Chilean poet Pablo Neruda, known especially for his love poems and political activism. These previously “lost” poems were never translated into English, and Copper Canyon Press will translate and publish them in a collection entitled Then Come Back: The Lost Neruda.

Related Posts:

• The Rumpus Interview with Tomas Q. Morin
• The Rumpus Interview with Rich Villar
• Poetry and Politics
• Poetry & Paradoxes
• The BreakBeat Poets: New American Poetry in the Age of Hip-Hop Edited by Kevin Coval, Quraysh Ali Lansana, and Nate Marshall

Via imgur.

yroxis:

Personality:I DON’T GIVE A FUCK

Anxiety: I do

lotusgurl:

victoriousvocabulary:

MELOMANIA

[noun]

an extreme love for music.

Etymology: from Latin melos (music) + Greek mania (madness).

[Fuco Ueda]

So me.

I work in a company, a company where the Vice President sleeps in his office with the door open on almost a daily basis. People have taken pictures of him doing it too. His brother started this company, where he has installed many inept family members. They pay people poorly, but not the family members. Family members and other family favorites get big Christmas bonuses, but not the rest of the employees. We are all under surveillance on the floor, we are being watched so we're not sleeping on the job. Kind of ironic, don'tcha think? In a dynastic company, such as mine, I see many things that look like the American political system. In my company the managers are told they have to work x amount of hours. The manager in charge of the schedule prints it out and gets it approved by the head manager. After it's approved to what she's been told she has to work, she whites out whats been written and writes in what she wants her schedule to be, she leaves 15 minutes early every day and since she is salaried, she manages to get paid for the hours she doesn't work. The schedule is an illusion. It doesn't mean anything. Just like the words politicians say, doesn't mean a thing. Like a congress that only works 126 days a year, while the rest of us are damn near working all 365 days.
The Clinton's are an example, they have a foundation, called the Clinton Foundation, where they employ their daughter, Chelsea, the CEO is Donna Shalala, anyone remember her?  She was the Secretary of Health and Human Services, under President Clinton and Bush. This is a non-profit foundation, that's a job creator for friends or family. It is taken for granted that this kind of nepotism and cronyism occurs and it will continue to occur. Just  like in my company where many family members and friends of family are employed, it doesn't mean you are getting the sharpest knife in the drawer, You just get the easiest most convenient employee. Which is why my company will soon be going out of business because they've run it into the ground with their brand of stupid.
Speaking of stupid, lets look at another dynasty, Jeb Bush, surprise! He's got a non-profit too, the Foundation For Excellence in Education, I guess his idiot brother really affected him, but I digress.
Guess who's the Board Chair? None other than WMD liar Condoleeza Rice. Ya know, maybe she is one of the reasons why, he made that statement, even knowing what we know now, he still would have invaded Iraq and Hillary would too, nice touch there. Also Jebs daughter Noelle was busted for crack, spent 2 weeks in jail and works for one of her daddy's businesses. Lucky for her, because people aren't in the habit of hiring those who have been arrested on drug charges. Kind of like in my company, the Vice President's son was arrested for dealing narcotics, but he's got a golden parachute when he gets out of jail and so it goes.

The economy is very bad, but not for the 1% with "non-profit" foundations, with all kinds of behind-the-scenes shenanigans going on, just like at my dynastic company where the relatives are treated like gold and everyone else is treated like garbage, which is why I refuse to tie my self to any one employer, it's why I refuse to vote anymore. These people have it made, they rake in the tax free cash and hand out positions to their kids and friends while the rest of us just scrape along. This system will not change and no amount of voting will change it. The economy will continue degrade, but insulated politicians and their kids won't ever have to worry about that. Go ahead and vote for these selfish, corrupt candidates. They probably fall asleep in their chairs at the office with the door open too.

sent-by-foolz:

Jean-Francios Bouron

faithtrustandwitchydust:

I’m pretty sure my mother made an accidental altar.

Let’s see:

At the top, the north, is a tall white candle which is surrounded by stones (kind of hard to see here). Earth

To the right, the east, is a oil/scent diffuser. Air.

At the bottom, the south, is a bright red candle. Fire.

To the left, the west, are a few stones from Pebble Beach, California. They’re formed shaped by the ocean. Water.

Something you’re not telling me, mom?

What's happening over Bryce Canyon?

antoinew:

tttrill:

wordtobigmike:

motherland.

this is amazing 

Ughhh I need to travel more !!!!!!!!!

kiohne:

*looks up at night sky*
*sees more stars than usual*
*mood immediately lifts by 93%*

shoshi-miriam:

amisbro:

edwardspoonhands:

rakugaki-otoko:

snarkydiscolizard:

“i’m sad and idk how to feel better”

“i don’t know what to draw”

“i always mess up”

“BUT I SUCK”

LISTEN TO BOB ROSS.

Bob Ross was paid $0 to make his series. He made a living giving lessons IRL and later selling his own line of paints and brushes.

lovestoned-perfect:

boredpanda:

Fashion Inspired By Nature In Diptychs By Liliya Hudyakova

OH DEAR GOD

tordotcom:

popculturebrain:

Posters: ‘The Muppets’ on ABC

“Kodak’s film was so bad at capturing the different hues and saturations of black skin that when director Jean Luc Godard was sent on an assignment to Mozambique in 1977, he flat-out refused to use Kodak on the grounds that its stock was “racist.” Only when the candy and furniture industries began complaining that they couldn’t accurately shoot dark chocolate and brown wood furniture did Kodak start to improve its technology.”

- The Quiet Racism of Instagram Filters (via rrruinous)

THIS IS REAL. THE ONLY FILTERS THAT WORK ON ME ARE DESIGNED TO BE USED FOR PHOTOGRAPHING FOOD. NOT JOKING EVEN A LITTLE.

(via alder-knight)

alder-knight:

voidbat:

alexmuninn:

• Draw a dick on his face in Sharpie
  
• Add his boss as a friend on Facebook
  
• Eat the last of his Nutella
• Text his ex with a “U up?” message
• Tell the IRS he owes back taxes
• Log in to gmail and change his password

every single one of these fits the rhythm of the song. i sang each one of them. :D

my mom’s addition was always “hit him in the face with a vick’s inhaler”

MY GOD terminalvisionary I’m just gonna go ahead and tag you here

Scarfolk Council was no stranger to invading the privacy of ordinary families. Back in December we introduced you to the council Christmas Boy (see HERE) who strictly monitored the contentment of families during the festive season. We've since received letters asking how the council kept households in check during the rest of the year.


In 1973 the council engineered a genetically modified creature called Roy. He was the result of cross-breeding barn owls with surplus human infants raised by prying, judgemental, lower-middle-class parents. Roy was cloned and delivered to every family in Scarfolk. His job was to oversee domestic affairs, and, if any family member deviated from officially sanctioned activity, Roy was to berate them by tutting and shaking his head.

Unfortunately, there had been a clinical oversight. Volatile poltergeist DNA had accidentally contaminated Roy's genes when a careless scientist left open a lab window which looked out onto a supernatural-energy processing plant. Instead of the envisioned tutting and head-shaking, Roy flew into violent rages, triggering major telekinetic events. There were reports of Roys decimating entire families and, in one case, allegedly annihilating an entire housing estate.

The council was under pressure to recall the defective owls, but because there had been a sudden drop in the numbers of families claiming benefits, it announced instead that Roy was a resounding success and millions more of the human-owl hybrid were commissioned by the police and social services.

twinkleofafadingstar:

number one pet peeve of all academia related to literature:

• when men are characters but women are symbols
  

discardingimages:

_______

The nastiest habit of medieval cats seen via illuminated manuscripts.

10. Regular licking

Thomas of Cantimpré, Liber de natura rerum, France ca. 1290 (Valenciennes, Bibliothèque municipale, ms. 320, fol. 72r)

9. Licking and mouse-hunting

Ashmole Bestiary, England 13th century (Bodleian Library, MS. Ashmole 1511, fol. 35v)

8. Licking, mouse-hunting and bird-stealing

Bestiary, England 13th century (Bodleian Library, MS. Bodl. 764, fol. 51r)

7. Hey cat! Stop licking your butt on the Book of Maccabees or you’ll get an arrow!

below the cat: 1Maccabees 16:18-20. Bible, France 13th century (Bibliothèque cantonale et universitaire de Lausanne, U 964, fol. 376r)

6. Otter-like cat

Bestiary, England 15th century (København, Kongelige Bibliotek, GkS 1633 4º, fol. 28v)

5. Devil and the cat worshippers licking the cat’s butt

Jean Tinctor, Traittié du crisme de vauderie (Sermo contra sectam vaudensium), Bruges ca. 1470-1480 (Paris, BnF, Français 961, fol. 1r)

4. Prayerbook cats

Hours of Charlotte of Savoy, Paris ca. 1420-1425 (NY, Morgan Library & Museum, MS M.1004, fol. 125r, 172r)

3. Weirdly long tongue

Book of Hours, Lyon, ca. 1505-1510 (Lyon, BM, Ms 6881, fol. 30r)

2. Villard’s cat

Sketchbook of Villard de Honnecourt, France ca. 1230 (BnF, Français 19093, fol. 7v)

1. Licking Cat of Apocalypse

Christ on Majesty flanked by two angels blowing trumpets of the Last Judgement and a little grey guy licking its butt. Missal, Bavaria ca. 1440-1460 (New York Public Library, MA 112, fol. 7r)

Follow Discarding Images on Facebook and Twitter!

_______

bathorycassette:

bathorycassette:

the record shop near me just isn’t having it anymore

i thought this was gonna get like 5 notes wtf

Here’s the always awesome Ignacio Rivera with a few reasons why it’s important, and I’ll add myself that having published some scholarship on trans issues, the last survey provided much needed data and continues to be cited in necessary ways.

The 28 year old adult daughter of Oklahoma Governor Mary Fallin moved her “nice trailer” to the backyard of the Governor’s mansion and is living in it with her husband.

 

 

One of the adult children of Fallin’s husband lives in the Governor’s mansion and another lives in a garage apartment behind the Governor’s mansion.

Fallin told Oklahoma television station KFOR that her 28-year-old daughter received no special benefit by parking the travel trailer outside the mansion near the state Capitol since April. Any electricity or water she would have used in the trailer would have also been used if she had been living inside the brick-and-mortar home.

“My Oklahoma values … is to take care of your family,” Fallin, a Republican, told the TV station in a live interview.

She meant to add, “And if the taxpayers will do it for me, I will let them,” but she forgot.

Hey, I checked to see and it costs about $250 a month, $360 with electricity, to lease a trailer space in Oklahoma.  I mean, it ain’t a fancy pants one like a mansion for a neighbor  but that does seem kinda a little bit like “a special benefit.”

Maybe Oklahoma values should include a “robust economy.”

Hey, lotsa people have had their kids move back home.  They just didn’t expect the taxpayers to feed and cool them.

By the way, if we’re gonna talk about “value values,” does that include your bodyguard?

In early December 1998, an Oklahoma Highway Patrol bodyguard for Fallin resigned after admitting to unprofessional conduct. The Fallins had filed for divorce the previous week, amid allegations by her estranged husband that she had an affair with a bodyguard.

Public Safety Commissioner Bob Ricks issued a statement saying that rumors had surfaced in early September about alleged unprofessional conduct between a member of the executive security detail and the lieutenant governor. According to Ricks, the trooper first denied the allegations, but, when questioned again in October, admitted to the improprieties. He was allowed to resign, but his admission did not say if any sexual activity was involved.

Whoa boy, that there is some family values.

Thanks to everybody for the heads up.

dacadaca:

iwillbeyourhands:

androdjinni:

youdlikethis:

Actual graphic from the Panama-Pacific International Exposition of 1915. 

Your eyes are an ocean.

Your breasts are also an ocean…

#gals being canals

#daca #this looks oddly like your drawing style omg

drawing ocean lesbians since 1915