IcyWhiteYoYo

I really love cats. On Instagram, I follow 50% cats and 50% people. A few of my favorite Instagram cats are: @cheetomosquito (a fluffy orange meow-zer who makes funny faces), @sunglasscat (a smooothe cat who wears cat-sized Neff Brodie sunglasses), and @misterandtiny (a cat duo -- one of which has one eye like a pirrrate).

And wouldn'tcha know? This being the Internet and all, a talented young artist, Yoyo Yeung, who uses the handle @icywhiteyoyo created some adorbs watercolors that channel the sui generis of my instakitty friends. Yay. 

Here are the illustrations and their catspirations. Please enjoy. Meow.


Rami Niemi

Swedish Illustrator Rami Niemi loves fleamarket records, lives on a farm, and creates bold-colored vector-based drawings by hand and on his compu-tador. His illustrations are a phab mixture of Boterismo-exagerrated figures and Casandre deco. Though Rami's super fly art has been published in many, many venerable 'zines, campaigns, and the like, I'm including his art here because I luv it.

The following are descriptions of each illustrations and/or their titles.

Drawing #1 was for Wired; it's RE that lazy Saturday afternoon when you dig in the crates for that one record -- you know the limited edition still in the package and priced at $1.00. 

Drawing #2 is amazing. It's titled "some dude feeling comfortable in a polycotton yard suit," which is a perfect title. I'm guessing a "yard suit" is a Swedish term for onesie?

Drawing #3 is an illustration a guy drinking and sleeping on an airplane, which makes me wish I could go have a beer on an airplane right now. (Note the Skittles.)

Drawing #4 is a real heart string tugg'r. The kid wants his mom to tell him about the Man Upstairs. What will the mom say?! It's a cliffhanger.

So, Rami Niemi's portfolio site displays a plethora of these illustrated gems, as well as some comics I didn't post. Go click around. Spend some time. Go on.

FICTION/POETRY, WEIRD

Margaret and the Infestation

“But roaches aren’t attracted to water!” Veronica, the landlord, said in her nasal voice that made Margaret’s ears want to bleed.

“Every living thing on this planet is attracted to water,” Margaret said into the phone, as politely as possible as she clenched a wooden spoon in her fist and rolled her eyes.

“Don’t take that tone with me,” Veronica said, “I know you’re rolling your eyes!”

“We’re on a phone. Who cares if I’m rolling my eyes? All I want is for the leaking pipes underneath the kitchen sink to be fixed. That’s probably why the roaches keep coming back. They haven’t been back for a few days but let’s get this fixed as soon as possible.”

“Roaches aren’t attracted to water,” Veronica said again in her nasal self-assuredness. 

“They’re called water bugs in some states, goddamnit. They’re attracted to water. Fix the fucking leak!” Margaret struck her thumb as hard as she could against the red button on her cell phone. 
Billy, Margaret’s boyfriend, stayed the night and was just waking up. He yawned as he entered the kitchen and kissed her on the neck.

“I want to make pancakes,” he said. “I want to make pancakes right now.”

Margaret wanted pancakes but she feared at any moment the roach infestation would be back. She didn’t want to tell Billy about her battles with the landlord over them.

“Maybe we should just get Magnolia,” Margaret said.

“Fuck that. Why spend money when we have all the ingredients right here?” Billy opened the fridge and took out some eggs, milk, and Bisquik. A white puff of Bisquik pancake mix burst out of the plastic bag as he opened it. 

“When I was a kid,” Billy said as he licked his pointer finger and dipped it into the mix, “I used to— “ but his face went from nostalgic to confusion and horror. Cockroaches climbed out of the bag and onto his hand and arm. He flailed and screamed and shook himself violently. 

“Billy!” Margaret yelled, “Billy!” 

It was no use. He was screaming and jumping and yelling his way out the door.

Margaret called the landlord.

“Come over right now and look at this infestation I’ve got going on here. They’re everywhere! This needs to be fixed today or I’m breaking the lease and suing your asses!” Margaret put as much anger as she could into her thumb and pressed the red button to hang up. 

The pest control guy got to her apartment an hour later armed with all the tools that existed to kill roaches, probably.

“Howdy missus,” he said as he tipped his hat and smiled. He whistled and spit through the gaps in his teeth as he spoke. “We’s got some heavy ammo-nition at our disposal here. We’s gonna smoke ‘em out. Shock and awe these sumbitches and make sure they’s children never 
grow up to haunt yer packages of breakfast puddin’, knowmean? Now just set yer pretty face down, wear this here gas mask an’ wait fer the sufferin’ to begin.” He handed Margaret a gas mask and put on his own.

“Name’s Charley the Cockroach Man,” he said and pointed to the hand drawn logo on his shirt. It said Charley the Cockroach Man.

“Are you a one man army?” Margaret asked.

“Heh-heh,” Charley the Cockroach Man giggled, “Now’s missus I’ve got a wife and children sitting all alone at home. It ain’t too impressive to be a one man cockroach bomb.”

He was right, it wasn’t impressive but Margaret was just making small talk. 

Margaret sat on her hands and nodded.

“You see,” Charley the Cockroach Man said as he put bait traps outfitted with blinking red LED lights in each corner of her apartment, 

“Cockroaches, sure, they’s adapt biologically like any other creature but men—shit, we’s adapting everyday with the nimble mind the Lord blessed our souls with. We make a weapon, use it in Vietnam, hippies don’t like it, fine. We adapt. We start to use it in our living rooms to kill roaches.”

“You’re not spraying napalm in my kitchen are you?” Margaret asked, a little worried.

“Napalm?! Ha! This here spraying machine has got the best of roach killing qualities! I am not at liberty to say what this contains but it is highly experimental and highly effective! They don’t call me the Cockroach Man because I’m stupid, you know!”

Up until that point, Margaret had subconsciously believed that anyone who called themselves or had been called a cockroach man was stupid. 

Charley the Cockroach Man was scanning the walls with a remote control with an HD screen.

“I’ll be done in jus a second! Just checking up on my radar doohickey, makin’ fer damn sure these bugs is suffering.”

“They don’t need to suffer,” Margaret said. “They just need to die.”

“Sweetcakes,” Charley said, “The dead don’t learn nuthin’ lest they suffer!” Charley put the remote back in his pocket. “I’m all done! Don’t take off that mask on yer face for another few hours. This shit’ll tear your face off from the inside.”

Without a goodbye or a tip of his hat or anything, Charley the Cockroach Man walked out of the purple fog he had sprayed into Margaret’s apartment and closed the door behind him. Margaret pulled out her phone and called Billy but there was no answer. She got up to go to Magnolia by herself. 

The next morning there was no scurrying. There was no battle between Margaret’s broom and the wall in a fruitless effort to kill roaches. They were completely gone.

“Wait a week,” Margaret said, not yet willing to buy into the experimental la-di-da that Charley the Cockroach Man had put on pretty thick the day before. But weeks passed before she had any kind of disturbance from any kind of insect. They were definitely gone. 

Margaret picked up her cell phone to call the landlord.

“Hello, this is Veronica Pasternak, landlord and general manager of Junglewood Properties. As you can tell, I am not in right now but please leave your name, number, and a brief message and I promise to get back to you as soon as I can.”

“Veronica! This is Margaret in apartment 256. You should call Charley the Cockroach Man every time someone has a complaint. They’re all gone. All of them!” Margaret was giddy. She was so giddy that she had decided to make it a night in for herself watching TV in her bedroom until she fell asleep. She had never been that comfortable in her place before. The TV lulled her to sleep.

She was awoken by a tickling on her legs. At first it was slow and sparse enough to be ignored but soon it felt as if whole armies were climbing her. She turned on her side light and watched as about twenty tiny bodies scattered like cockroaches. 

But they weren’t roaches.

They giggled and screamed as they scattered. They walked on two legs. They were all bald and a pasty white. They were tiny little naked white men and they numbered at least ten times more than twenty. 

Margaret couldn’t help but think, “What the fuck?” Who wouldn’t? She told herself she was dreaming and she tried to fall asleep with one eye open. Eventually she did.

The next night, she awoke to a tickling in her ears. One of the tiny little white men was hanging onto her earlobe, whispering into her ear. She screamed and grabbed it and threw it against the wall. It screamed the whole time it was in the air interrupted only by the thud of it hitting 
the wall. Margaret turned on the lights.

A crowd of solemn tiny little naked white men were watching as their comrade smeared himself on the wall to the carpet. They were whispering and wailing and sobbing and when, finally, their comrade’s lifeless body hit the ground they turned to Margaret with hatred burning in their beady little eyes.They climbed up her leg, biting and scratching, and calling her names in a language she didn’t understand. 

She swatted at them and stomped on them and grabbed them by the handful to flush them down the toilet, but soon their screaming and pleading got to her. Roaches couldn’t scream. What were these little feeling monsters? She called the landlord again.

It went to voicemail.

“Veronica! Whole new problem! Apartment 256! Little white men! Naked! They’re like roaches!” Margaret hung up the phone and crawled into a corner so she could watch from every angle to protect herself. 

They ran free around her house. They climbed bookshelves, swung from ceiling fans, caught rides on the cat and when they approached her she swatted them away, their screams be damned. These were little anarchists. 

Margaret dialed the police.

“Sounds like you’ve got a weird roach problem. Why are you calling us?” they said and hung up.

Margaret dialed Billy.

“There’s no fucking way I’m ever going to your house again,” Billy said and hung up.

Margaret searched Charley the Cockroach Man and found a phone number. 24 hour service. Perfect.

“Yes’m, hello! You’s reached me, Charley the Cockroach Man. How may I be of assistance?”

“Charley! It’s Margaret. You came by my apartment a few weeks ago!”

“Oh, sweetcakes! I always ‘member a voice after I done heard it once. Of course I remember you. What seems to be the issue? Roaches come crawling back? Them’s sumbitches sometimes never learn.”

“No!” Margaret yelled. “Little tiny naked white men.”

“Oh, hell no,” Charley said and hung up the phone. 

Within five minutes he was knocking on the front door. The little tiny naked white men were prancing all around the house, completely unaware of the fate that lay ahead of them.

“Put on this mask, sweetcakes,” Charley said. “I can’t well kill ‘em but I can trap ‘em. They’s got full citizenship rights and shit.”

“Yeah, they screamed when I squashed them. I felt pretty bad.”

“Don’t feel too bad. These things is worse than roaches. Ruin everything they touch. Look at them two over there fuckin’ on your soup bowls. It’s a damn shame.”

Charley put on his own mask and sprayed some pink fog and all the tiny naked men fell asleep.
“If you step on a few of them, I won’t tell,” Charley smiled and nudged Margaret. 

Margaret stomped and stomped. They were all asleep and when they couldn’t scream, it didn’t matter. She became happier and happier with each squishy sound.

“Aw, shit. You go on and have fun. You deserve it,” Charley the Cockroach Man said as he disappeared through the pink fog and shut the door behind him.

 

 

Andrew Hilbert is a writer living in Austin, TX, who's involved in a smorgasbord of creative activities including creating musical variety shows, audio short stories, 'zines, and more, which you can read on his blog and website, www.hilbertheckler.com.

He's also written a fantastic book short stories like these, which you can purchase here .

MUSIC

Mew - Introducing Palace Players

Remember these guys? I'm not really sure why I dusted them off today, but behold! — a wicked guitar riff. Seems like trends move so quickly nowadays that the time is ripening for golden-age-of-buzz-bands nostalgia. Which is sort of the snake eating its own tail, if you think about it. Think about it long and hard. HARDER!

ART

Myah Bailey

Here are some noir comic book-esque pieces from Denver artist Myah Bailey. Apparently each series is comprised of parts of an ongoing story with intersecting characters/themes. Because I don't know these stories, I'm going to make them up.

Hokay. 

Let's say the first one, The Fortune Teller's Fate, is about when you see that bastard your friend, Jen, is dating at the Beauty Bar with some blonde hoe and all you can do is stare while the crow in your hair, after having pointed in their direction, whispers in your ear, "um, wtf; Johnny is such a douche."

And the second one, Vitality from Poison, is about Lori, dem bitch, who consistently says things like, "stfu, Kate, no one cares" and "that dress makes your ass look fat." Amazingly, every time she says things like this, a shiny spider grows in her hair. 

No? Maybe? 

To see more story-provoking pieces, go to the artist's site myahbailey.com!

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ART

Alia Penner

Alia Penner grew up in flower-child village Topango Canyon to become flower child part deux (but the millennial Los Angeles fashionista version). Her paintings, illustrations, and designs are a vintage, dreamlike rampage of color and pattern with a Sargeant Pepper's Lonely Hearts Club aesthetic. 

Penner's art is stylish and retro and slathered in pop culture references. For instance, the three illustrations below: (1) "Tori Burch Muses," which is like a Renaissance Madonna painting, but with the crucifix swapped with a fashion logo; (2) "Father John Misty," which is a cuh-ray-zee shroom trip (apt, considering the Misty himself recently shroomed his way down the coast and ended up in a self-proclaimed "spider shack" in Laurel Canyon ; (3) and this illustration for Marie Claire of Zooey Deschanel, which is basically a 2D gold Byzantine icon complete with halo (but with extra stars). 

Anyhow, I love her gregarious mashups of color, eras (Byzantine + 2K14), high and lowe brau themes, etcetera. Her art is fantastically fun to look at and I want to be her friend. Don't you? 

Check out more of her stuff on her website, aliapenner.com



ART

Mel Kadel

I know she's already had a cover of the New Yorker and all and really doesn't need the press, but I frickin løve Mel Kadel's multi-layered hand-stained paper art. It's intricate and methodical and whimsical and I like the colors and it makes me feel calm. I also want to wear them as shirts because the patterns are bomb digg. See more at melkadel.com.

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ART

Ryan Heshka

Canadian Ryan Heshka's paintings look like pages from Kavalier and Clay-era comics or pulp mags -- but ones telling sexier and wonkier stories than you remember. I love all of his paintings, but pulled out the four bold beauties below cuz, well, I wanted to pick at least a couple good'ns. Definitely visit his site, ryanheshka.com, to see more!

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MUSIC

Master of the Runaround

If there’s any artist who doesn’t really need any press, it’s Bob Dylan. This guy hasn’t really needed to rely on any press in fifty years. Dylan, who recently turned 73, had a ridiculous amount of notoriety thrust upon him early in his career. In fact, the press courted him almost from the beginning. Everyone wanted to know what he had to say even about even the most innocuous of subjects — a fasciation that continues to this day. His mastery of words, his ever-evolving carousel of musical directions and that voice.  

In return for our thirst, Dylan has given us five decades of worthy material to over-analyze. As a performer, there are thousands of shows to his name (many that can easily be classified as historic)  two of which happened within a year of each other: Newport, July 25, 1965, and Manchester, May 17, 1966. However, some of his greatest performances haven’t been on a stage in front of thousands of people, but, rather, in small rooms (or on a bus or in a radio station or on the phone) in front of one or maybe two dozen people answering questions. A lot of questions. Everyone has something to ask the guy, but doesn’t often give straight answers. He plays the interview game as he plays the songwriting game: never drawing a straight line, hardly offering a dull moment. Dylan turns interviews into theater. 

The varying degrees of entertainment and oddity in these performances (interviews) depend on who’s asking the questions and who may be listening. For example, the grumpy, older reporter from Time (as seen in the documentary of his 1965 English tour Don’t Look Back) draws out a different Dylan than, say, the heavily lauded jazz critic Nat Hentoff. The former drew out a notorious and brilliant confrontation, while the latter brought a quaint chat session. Even in interviews, Dylan keeps everyone guessing and handles the situation as he sees fit. 

So, in celebration of Dylan’s 73rd year, we’ve chronicled a few of his greatest interviews/performances — and given descriptions of each. Pull up a seat, put on some headphones, and enjoy.

Interview 1 

Date: March 12, 1962

Location: WBAI radio, New York City

Interviewer: Cynthia Gooding, “Folksinger’s Choice” radio program

Stand-out Quote: “Actually, I wrote a song once ‘bout this lady I knew in the carnival…”

Synopsis: Only 20 years old here, baby-faced Dylan was already in good form, confident, and convincing as he told folksinger/activist interviewer Gooding about traveling with carnivals as a youth a fact that ended up being total fiction, but who was to know? Because he was so young in his career, there was nothing to really talk about besides influences, so maybe he figured: why not make it a little more interesting by spinning a few tall tales? Even at this young age, he was already a better talker than most of his peers and Gooding couldn’t get enough him.

 

Interview 2

Date: December 3, 1965

Location: KQED TV Studios, San Francisco

Interviewer: Various

Stand-out Quote: “Good God, I must leave right away.”

Synopsis: This was perhaps the beginning of Dylan’s uneasiness with the press (or simply with just answering questions) and was the debut of his patented “non-answers.” Even before the first question was asked (by a laser-eyed, intense, creepy fellow), Dylan mannerisms showed he was looking for a way out fidgety in his chair, shifty-eyed, hiding behind his hand, chain smoking, etc. 

At the time of this press conference, Dylan had already “gone electric” at that year’s Newport Folk Festival, and, in doing so, had isolated many early fans while earning more notoriety and public debates than even the best PR person could drum up. He was also in the midst of recording his first masterpiece (or was it his third?), Blonde on Blonde. He was sitting pretty and he knew it. When asked, jokingly, which commercial interests he’d consider selling out to, Dylan answered: “ladies garments,” to much laughter. Forty odd years later, he did just that by appearing in and donating his ghostly “Lovesick” to a Victoria Secret commercial. 

 

Interview 3

Date: January, 1966

Location: WBAI Radio, New York City 

Interviewer: Boss Fass / various callers, “Radio Unnameable” program

Stand-out quote: “Oh my God, man; hey no, he don’t understand. Hey, all these people hey, hey, listen, I don’t know who this is, I’m not even going to ask your name, that’s how much I think of you…”

Synopsis: Although 1966 found Dylan active as a performer for only six months (a July motorcycle took him out of the public eye for two years), some of his best interviews happened in that short space of time. Dylan and company stumbled into WBAI’s studios for Bob Faas’s free-form late-night radio show where he and Fass snickered, talked over and spared with callers, and generally didn’t answer questions. Recorded only a month after the San Francisco press conference embedded above, Dylan’s attitude in this interview was completely different. Seems that a few late nights in the studio put The Maestro in a blurry, surreal mood — a mood that the more adventurous callers dared to complain about. 

Interview 4

Date: mid-1986

Location: Dylan’s trailer on the set of the film Hearts Of Fire, Hamilton, Canada

Interviewer: Christopher Sykes

Stand-out Quote: “I’m nobody’s puppet and nobody pulls my strings.”

Synopsis: Although the 70’s were a fertile interview time Dylan, his interviews in the mid-80’s were more accessible. Here is the first of a four-part conversation made for the BBC’s acclaimed series, Omnibus. Sykes refused to be thrown off by Dylan’s verbal hiding and remained patient while keeping up the pace. For his part, Dylan sketched a portrait of the Sykes instead of using his typical forms of aversion. Still, he was in great spirits (confrontational as well as good humored) and gave some amazingly candid responses. Plus, he laughed a lot here and, let’s be honest: when Bob Dylan laughs, so does the world. (Be sure to watch part four of this series where is the best as he interacts and jokes around with the locals outside his trailer including a wrestler named “Grizzly.”) 

Interview 5

Date: May 24, 1986

Location: WBAI studios, NYC, on the phone from an undisclosed location

Interviewer: Bob Fass, Robert Knight, and some cheesy radio guy with a thick Brooklyn accent, “Radio Unnameable” program

Stand-out Quote: “I’m talkin’ on the radio here, but it’s just silence.”

Synopsis: Twenty years after their notorious interview, Dylan is back with Bob Fass. This time, however, it’s Fass and company who are on the receiving end of Dylan’s shut-down, non-answers. Try as they would to hold a discussion, they ended up with perhaps the most awkward conversation in Dylan’s interview history. It’s up for debate whether he just didn’t want to talk or was doing some professional mind-messing here as he allowed long pauses, talked over follow-up questions and interrupted at will. Adding to this hilarious train-wreck was Fass’s low-voiced, ass-kissing and downright pervy mannerisms, which sounded way too private for public broadcast. While everyone was virtually tripping over themselves to apply credit to Dylan, Fass came off as if trying for something more romantic. There were at least three times when it seemed the interview was wrapping up, but it kept going. Of all people, one would think the radio veteran Fass would know when to quit, but he continually stepped into the same verbal traps he helped set twenty years earlier. It’s an embarrassing but wildly entertaining half-hour.

Interview 6

Date: July, 2001

Location: A small room in Rome, Italy

Interviewer: Various Romans

Stand-out Quote: “You’ve been dancing all morning? I’m sorry about that.”

Synopsis: Two-thousand one found Dylan at the beginning of yet another surge of creativity. Here, he was doing press for his stunning Love And Theft LP, which was released two months later. The easy-going, jovial Dylan was in command of the situation and spoke with authority while still not really answering questions. The reporters remained on point throughout by mostly keeping clear of The Legacy. Not surprisingly, Dylan was far more interested in talking about the present than the past. When one tried to quote a lyric in order to back up his question, Dylan humorously challenged the reporter’s accuracy yet no one, not even the songwriter, knew which line was correct. In this enjoyable interview, he had them in the palm of his hand but didn’t crush ‘em. 

These are only a handful of Dylan's raucous interviews that probably make fans even more enamored with the Legend. So, if you just gotta have more, hop on over to Youtube for hours + of fascination. 

 

 

 

 

 

 

 

 

 

 

 

 

MUSIC

The Brogues - Don't Shoot Me Down

Was ever a garunge rock band so garungey? On compilation-classic "I Ain't No Miracle Worker," the fellas kicked your dog in the ribs, then translated its primal yawp to musical form. But wait, there's more! If you flip that hardened puddle of wax to the B-side, you'll find "Don't Shoot Me Down," a gunked-up explosion of fuzz and snot and spit.

FICTION/POETRY, WEIRD

Joe Nicholas Poems

I Dwell for a Moment That Penis Sounds Like Penance 

A penis

is a thing,

much like an arm.

Yeah!

It's like a fifth arm.

It can grab

  

attention.

 

An Invisible Brain Floats Around And Speaks To Us Through The Box in Our Pocket

 

Friends

give

 

friends

 

wi-fi passwords.

 

Ghost Poem

When a ghost looks in the mirror, it thinks it's the wall. The wall knows better.

The wall knows it's a ghost,

and a wall,

 

and old paint stuck to older paint. It knows it's blind. It knows the ghost is a ghost.

It knows all ghosts

are walls.

 

 Everyone Thinks We're Walking Toward Death

 

when in reality

it's death that's barreling towards us with its horns raised.

It doesn't care if we're moving or not.

 

ART

Ryan McGinness - Figure Drawings

At Pace Prints hang Ryan McGinness's Figure Drawings: women-shaped neon signs. They're like flat, Matisse-inspired shapes that flicker and buzz in the window of the adult video store. But, in the best way possible. 

I'd luv to visit these sexy women-shaped neon lines in person. For now, I'll just ogle them here, at the Pace Prints' exhibition site. Bzzzzzzt. 

ART

Daniella Garreton - sea creatures and the like on wood canvas

Santiago de Chile-born Daniela Garreton loves the sea. Because I am feeling homesick for the sea right now, I was swept tonight on a salty current toward her seafaring wood prints (resembling American-style sailor bicep tats), which she creates from coastal city, San Sebastián.

She says of her work and mindspace (in her bio), "the sea has continued to imprint itself on her mindscreen." I feel dat.

Which is why tonight I am the tangly-bearded man with the Wes Anderson hat. I am the seagull octopus with the captain's hat. I am the bearded skull with the hat with the fish bone patch. 

To the sea, the sea!

image 1: Gorro Rojo 

image 2: Seagoctopus

image 3: Marino Calavera

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ART

Rick Schaier - collage instagrams

Rick Schaier's Instagram handle, victoriancow, is full'a his collages (made with documerica photos?), paintings, and other well-curated mash-ups. He must be a busy dude because he's apparently also in these bands: Miniature Tigers, Alvin Band, and Spooky.

The first image I posted below -- the one with the Poseidon Nasa man -- caught my eye particularly because Mad Men was all about the moon landing last night (which is amazeballs; we have been to the moon: a leap for man(woman)kind, and all that). As for the second one: I love the colors and all the feathered dirty blonde ennui it's got goin' on. 

To see more of Schaier's paintings, collages, etcetera, visit his Instagram account. 


ART

1111 comics - *click*

I like this strip by 1111 (eleven eleven) comics of Thor's morning routine: selfie in bed, breakfast shake, Facebook session, choice to unfriend asshole.

Despite the fact that Thor has been cast from Asgard to live with humans in Midgard (Earth), he seems to fit in just fine. He even uses our excited-endorphin-overload facial expression when he gets a comment on his post directly after God (whom 1111 comics defines as "an entity which is infinitely everything at the same time") just liked said post. (PS: I'm assuming God, in this case, is Odin.) 

Generally, 1111 comics posts SafeForWork, silly, cute comics. If you're into things that are cute, then you can visit 1111 comics website to see more.  

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ART

Michelle Robinson - female forms

Continuing in the #girlpower theme from yesterday's post, Michelle Robinson's bold, colorful, rhythmically-patterened paintings also prominently feature the female form. Many of her paintings feature a 2-D warrior-type woman with a colorful, patterned halo staring square at the onlooker.

The first painting, TAVIA, is an example of one of these. In this case the woman who might be Tavia (with her checkerboard halo) supervises a pit of beautiful naked women. I love how she's so unbending and dark while the ladiez behind her are very bendy indeed.

The second, Petal By Petal, is the piece that first caught my eye on Michelle Robinson's instagram. Though the image's Instagram caption, "she's comfortable in her skin...unveiling herself petal by petal" reminded me a bit too much of junior high sex talks with teachers and mothers and such, the composition is very pleasing. It reminds me of a peach and a heart and a keyhole and an iris and other sexy, female symbols.

To see more of Michelle Robinson's female-centric emanations of "self-empowerment, identity, community, sexuality, freedom and the human condition," visit her website, Create-ture.com. Though most of her originals are sold out (go gurl), you can buy prints, etc.