Not when you are laying around the house, not when you go to the grocery store, not when you sit in a classroom, not when you go to the gym. You are never obligated to get dressed up just so you are pretty for others.
Pretty is not the rent you pay to exist in the world as a woman.
Here is a pic of Grace Jones shoving cake into Divine’s mouth at what I believe was Grace’s 30th birthday party…you’re welcome!
It’s like “The Creation of Adam,” but relevant to my interests.
i am 0% the person i was three years ago and i would probably get in a fight with 2011 me
I definitely want more BloodMilk jewelry. They’re wondrous *^*
I said “have a nice day!” to this old dude and apparently that’s not fucking good enough because he retrieved his wallet and from like a stack of 30 of these things pulled one out and gave it to me and said something like “I hope you reconsider your choices next time”
This is the most self entitled shit i’ve seen all day
just say “aw thanks” then eat it slowly in front of him
Sometimes I think of how one tiny mutated cell can wipe out our whole civilization, but then I watch a video like this and think “nah, we’re way too awesome of a species to be defeated.”
I feel like my life is complete after watching this.
HOLY SHITTING CHRIST.HOW DOES HE MANAGE TO KEEP SUCH A GOOD TONE QUALITY. WHAT THE SHIT. I CAN’T. JUST.
Seriously, as somebody who is relatively good at the flute let me tell you that that is really fucking difficult. REALLY FUCKING DIFFICULT. That’s like the flautist’s equivalent of trying to talk normally whilst breathing in: it just isn’t doable. This guy is using some freaky fucking sorcery. As if that weren’t bad enough: HIS FINGERS ON THAT LAST BLOODY SCALE HOLY SHIT. HOW CAN YOU MOVE THAT FAST. I CAN’T EVEN DO F BLOODY MAJOR THAT FAST AND IT’S THE EASIEST BLOODY SCALE WE HAVE HOLY CHRIST.
The Pied Piper of Hamelin 2014
I enjoyed reading this passage by Thích Nhất Hạnh, in which he eloquently expresses a phenomenon we can all relate to:
"I have a photograph of myself when I was a boy of sixteen. Is it a photograph of me? I am not really sure. Who is this boy in the photograph? Is it the same person as me or is it another person? …
The body of the boy in the photograph is not the same as my body, now that I am in my seventies. The feelings are different, and the perceptions are very different. It is just as if I am a completely different person from that boy, but if the boy in the photograph did not exist, then I would not exist either.
I am a continuation like the rain is the continuation of the cloud. When you look deeply into the photograph, you can see me already as an old man. You do not have to wait fifty-five years. When the lemon tree is in flower, you may not see any fruit, but if you look deeply you can see that the fruit is already there… [I]f the lemon tree has time it will express itself in lemons.”
every time i see this i laugh so hard i’m in physical pain
Nope. But the real story is better. Bolding mine:
The late Ruth Thompson, a cell painter on “Snow White” who later became a multiplane scene planner, recalled: “We tried everything - airbrush, drybrush, even lipstick and rouge, which is perhaps the basis for the legend because we did, in fact, try it. But nothing worked.”
The airbrush was difficult to control on such a small area; drybrush was too harsh; lipstick and rouge unwieldy and messy. Everything proved to be impractical and all hope seemed lost to give Snow White her little bit of color when the idea of using a dye was proposed.
Again Ms. Thompson: “Someone suggested a red dye because the blue day we added to give Donald Duck his distinctive sailor-blue never really could be washed off the cell without leaving a bluish stain where the paint had been applied.”
Ever since the mid 30’s when color became the norm for all the cartoons, not just the “Silly Symphonies,” all paints and inks were made at the studio. During this period as well cells were routinely reused for economic reasons, thus the need to wash them off. Apparently Donald’s special blue color was made with a dye added to the usual powdered pigments. “So we tried that.” As the women gathered around in what must have seemed just another dead-end effort, all eyes became fixed on the red dot which soon became a small glow with no perceptible edge. The hushed silence soon gave way to sighs of relief. The method had finally been found. Now the application.
Among the studio’s many inkers (an extremely demanding profession), was one young lady whose training and skill was unique: Helen Ogger. Just being an inker placed one within the elite confines of this most “holy of holies” area of the Nunnery, as the Ink and Paint Department was so called (Walt had strict and quite Victorian views that the sexes not mingle at the workplace, allowing no male personnel save the “gofer” boy and the paymaster “Mr.” Keener to enter this domain of mostly unmarried women ). But Helen was in addition a very fine cartoonist and one of the few women at Disney’s or anywhere else, who could animate.
Such a seemingly insignificant detail (as the cheek colors) might be thought not worthy of special mention (she, as well as the other inkers and painters, was given no screen credit). But when one adds up the number of footage required to be tinted freehand on each individual cell, the hours suddenly turn into weeks and months. In fact, such a treatment was never attempted again on such a scale and even today, the publicity stills from “Snow White,” most of which do not have the added blush, bear witness to how that little touch of extra care adds to the vitality we see on the screen.
The work was done on all close-ups, most medium shots, and even on some long shots. The Queen was also similarly tinted. Hundreds of hours were needed to complete this task, arduous, repetitive and, of course, hard on the eyes. Ultimately a handful of other girls were needed to assist Helen as the clocked ticked toward the deadline.
Helen had to place several cells together on an animation board, one atop the other, just like in the process of animation, in order to get the ‘registration’ right (the spot of red just right in relation to the preceding and following ones) - all of this without any guide. She would work out her own extremes and then ‘animate’ the blush in inbetweens. Her work deserves admiration and gratitude and it is unfortunate that her contribution has remained unknown and her anonymity unaltered during her lifetime. She was paid, as were the rest of the Inkers, $18 a week, which included a half-day on Saturday and the many, many hours of unpaid overtime “Snow White” would require - all given unstintingly, (by everyone involved, it should be added), to a project whose joy in participating was its own reward.
She eventually became head of Inking and Special Effects and even taught classes in animation at the studio. She left in 1941 (apparently part of the terrible strike that would leave the Disney Studio changed forever), taking her skills with her. She died in Glendale in February of 1980. Perhaps it is safe to say that her departure was critical to the abrupt demise of this now unique effect (it was also used, though on a much smaller scale in both “Pinocchio” and “Fantasia”). None of the other inkers or painters were animators and it is this fact, not just the factor of economy nor the changing tastes, which surely must be considered a reason why such details were never attempted again. The golden age was over.
Also, here’s an interesting article about female cel painters at Disney. I am now fascinated by the idea of writing something with a Depression-era cel painter as a protagonist.
hi my name is eevee and i really wanna thank y’all for 400 followers!!! i love every one of you!! and i’ve been wanting to do a giveaway for a while, but i didn’t know what to give!! but i received some positive feedback for doing a makeup giveaway, so i decided on that!
i don’t wanna clog up dashes by making this post too long, so the rest of the info is under the cut!!