Not a want. A need

this is what i mean when i say return to monke

OOOOOOHHHH

I’ve been thinking about this daily since it crossed my dash

little mans is 100% correct.

I'm gonna put I AM BRAVE OF THIS MEETING on my cubicle wall at work and never explain it.

Think about the donuts of your day!

My favorite mermaid art is the one of a family photo with a mermaid mother and old sailor father and their sons are both reverse merfolk (human legs with fish heads).

This is the one!

It's by Jessica Warrick.

Follow @ultrafacts for more facts!

The kids on TikTok think that just because he was a classic country singer, Johnny Cash was conservative??? My babies he covered a Nine Inch Nails song in his seventies.

Classic country singers (the majority of which came from poor roots) were always talking about how much The Man sucked because they were taking money from poor rural folk. You’re gonna tell me that’s conservative?? Get outta here.

And somehow on the opposite side of the scale with the same exact opinion the conservative kids say “I like the old country music, because there’s no politics to it” Woodie Guthrie’s got a “this machine kills fascists” sticker on his guitar? You think there’s no politics in 9 to 5 or Folsom Prison Blues?!

For anyone confused there was a sudden and dramatic shift in the country music genre. It used to be a genre fixated on the experiences of people. Lived or common experiences that resonated with the common people. It was music that you listened to and it thrummed in tune to your soul because you had lived it yourself. And a lot of that was about ordinary people getting ground up in the gears of society.

The hyper patriotism, beer, and trucks chimera we have now didn't show up until after 9/11 and the world is lesser for it

Allow me to post the entire lyrics to the Johnny Cash song "Man in Black", released in nineteen goddamn seventy-one and written about why he always wore black onstage:

Well, you wonder why I always dress in black

Why you never see bright colors on my back

And why does my appearance seem to have a somber tone

Well, there's a reason for the things that I have on

I wear the black for the poor and the beaten down

Livin' in the hopeless, hungry side of town

I wear it for the prisoner who has long paid for his crime

But is there because he's a victim of the times

I wear the black for those who've never read

Or listened to the words that Jesus said

About the road to happiness through love and charity

Why, you'd think He's talking straight to you and me

Well, we're doin' mighty fine, I do suppose

In our streak of lightnin' cars and fancy clothes

But just so we're reminded of the ones who are held back

Up front there ought to be a man in black

I wear it for the sick and lonely old

For the reckless ones whose bad trip left them cold

I wear the black in mournin' for the lives that could have been

Each week we lose a hundred fine young men

And I wear it for the thousands who have died

Believin' that the Lord was on their side

I wear it for another hundred-thousand who have died

Believin' that we all were on their side

Well, there's things that never will be right, I know

And things need changin' everywhere you go

But 'til we start to make a move to make a few things right

You'll never see me wear a suit of white

Ah, I'd love to wear a rainbow every day

And tell the world that everything's okay

But I'll try to carry off a little darkness on my back

'Til things are brighter, I'm the man in black

That right there is an anti-war, anti-bigot, anti-mass-incarceration, anti-war-on-drugs (Cash was an addict in various stages of recovery who was pissed as hell about how this country treats people with substance issues), eat-the-rich protest song. And it was arguably his signature song, his personal manifesto. Notice that even the Jesus reference, which today would be a signal that the song is about to drop some racist dogwhistles, segues immediately into a line about "the road to happiness through love and charity". As in "Motherfucker, our shared god said love thy neighbor and care for the poor and the outsider, and we both know he didn't fucking stutter." He's throwing shade at self-described Christians who use his religion as a cudgel to beat people with.

Johnny Cash wasn't a conservative. I'm pretty sure if he were alive and in reasonably good health today, he'd knock Jason Aldean's teeth out (or, failing that, write a song so devastatingly memetic about how much Aldean sucks that Aldean would never work in music again).

Johnny Cash was punk rock. He just happened to be punk rock in the body of a country singer.

It only takes three generations for you to be basically forgotten

Tell that to my great great uncle, who is the reason that it’s illegal to drive a tractor while drunk in the state of Kansas.

if you’re american and coming to australia, I’m gonna go ahead and say that you should be 100 percent way more worried about being king hit by a dude named “dane” in a bintang singlet than any fucking spiders that exist here

what does this say in english

“Good sir, if you are a resident of the United States of America and coming to visit the sunny land of Australia, allow me to inform you that you should be rather more concerned about being sucker punched by a gentleman named ‘Dane’ who is likely to be seen wearing a wifebeater with a beer company logo on it than by any of the dangerous spiders that exist on this lovely continent”.

ok so what does it say in american

“You’re more likely to get sucker punched/cold-cocked by an asshole than you are to be bitten by a spider”.

thank you

Well rattle my spoons, that don’t make a lick of sense. Wot in tarnation does this hootenanny say?

“If ya mosey on by Australia, you best be fixin’ to get to some fisticuffs more'n checkin fer spiders.”

This is a Rosetta Stone for a single language

#this excludes writing pedo or incest.

Your personal triggers and squicks do not get to determine what kind of art other people make.

People make shit. It's what we do. We make shit to explore, to inspire, to explain, to understand, but also to cope, to process, to educate, to warn, to go, "hey, wouldn't that be fucked up? Wild, right?"

Yes, sure, there are things that should be handled with care if they are used at all. But plenty more things are subjective. Some things are just not going to be to your tastes. So go find something that is to your tastes and stop worrying so much about what other people are doing and trying to dictate universal moral precepts about art based on your personal triggers and squicks.

I find possession stories super fucking triggering if I encounter them without warning, especially if they function as a sexual abuse metaphor. I'm not over here campaigning for every horror artist to stop writing possession stories because they make me feel shaky and dissociated. I just check Does The Dog Die before watching certain genres, and I have my husband or roommate preview anything I think might upset me so they can give me more detail. And if I genuinely don't think I can't handle it, I don't watch it. It's that simple.

If you look at the tags on my original post, this post was originally about hospital horror, and how it's allowed to exist even if an individual has medical trauma and doesn't like the genre. But since someone wanted to go and put some shit on my post that I disagree with:

No, actually, it doesn't exclude those things. Dark themes in fiction are allowed to exist whether you like them or not.

Vladimir Nabokov's Lolita was not a real little girl who really got brutalized. She was a fictional character. No real child was harmed. People are not reading Lolita and going out thinking, "oh, this told me to abuse children, and clearly it's morally okay now." The existence of Lolita is not responsible for the existence of CSA.

Wes Craven's New Nightmare was pretty meta, but Freddy Krueger was still never real and never hurt any real kids, either. He's a story. None of those kids ever died, none of them ever got abused, and Fred Krueger never got burned to death, because they're all fake and never existed. Murder and CSA in the real world aren't Freddy Krueger's fault.

Jaime and Cersei Lannister are not real people. They are fake. They are words on paper, and actors on a screen. Lena Headey and Nikolaj Coster-Waldau are not siblings, and did not ever have real sex in the show. It was fake, simulated, not real sex. No siblings actually fucked. Nobody is watching/reading Game of Thrones and thinking, "oh, I can totally go fuck my sibling with no repercussions now!" The existence of Game of Thrones is not responsible for real-world incest.

Guillermo del Toro's film Crimson Peak didn't kick off an epidemic of everyone deciding it's okay to fuck their sister and kill their wife. William Faulkner's "A Rose For Emily" isn't making people kill men and sleep with their corpses, and Emily never really killed Homer because neither of them actually exist in the first place.

John Wick isn't making people run out and become hitmen. The very cute doggy that infamously dies in the first movie was not actually a real dog death--the dogs in John Wick were treated very well, according to a ScreenRant article I found!

Ghostface was played by a combination of stuntmen and a very talented voice actor, and all his murder victims were actors who were filming a pretend story. It was all choreographed and nobody really died. The benind-the-scenes stuff for the Scream series is actually really cool if you're into that sort of thing like I am.

Arcane didn't put grenade launchers in people's hands and turn them into vigilante fighters juiced up on Super Drugs--and you know what, neither did any of the things the Batman franchise has churned out. The Joker and Scarecrow and Poison Ivy and Harley Quinn aren't out there terrorizing New York City, because they're fantasy supervillains who aren't real and can't hurt you.

The endless waves of bandits in Skyrim are pixels on a screen, and I'm not killing real men when I cut them down. No real people got hurt when my Sims 4 house caught fire. Playing Super Smash Brothers hasn't gotten me into underground fighting rings, and neither did watching Fight Club.

It's all fiction.

None of it is real.

The characters are fake and do not exist.

Curate your own media experience and get your head out of your ass.

[ID: a comment left by tumblr user msexcelfractal, which reads "Cool post OP, now do Birth of a Nation. End ID.]

Content warning: antiblackness, antisemitism, sinophobia, general discussion of bigotry and oppression

You really want to try and go there as if that's some kind of gotcha on the subject of dark fiction? Fine. Let's go there. I've got sources and free time.

Birth of a Nation is a horrific hate crime of a film. It is flagrantly racist and was connected to a surge in KKK membership. Nobody should watch that film for enjoyment. It's horrific. Nobody should be forced to watch it, either. You don't have to watch the film, and I don't recommend you do, unless you're actively involved in studying it for whatever reason. It's a bad, hateful movie.

I have not watched it in its entirety and I don't really ever intend to. There are Black scholars who have already broken it down and discussed it at length, and I don't feel I'm going to get anything out of the film that they haven't already covered. If I need to study Birth of a Nation in more depth for whatever reason, I'm going to defer to Black scholarship on the subject.

But if you tried to ban the film altogether? If you tried to erase it from existence? I would ask what the fuck is wrong with you. Banning Birth of a Nation does absolutely nothing to combat the racism that created it. It wouldn't stop racists from making racist art. It wouldn't erase the damage done by the film. It wouldn't go back in time and make it retroactively never made.

You know what banning it would do, though? It would strip film scholars of the ability to discuss it. It would prohibit people from talking about exactly why it was bad. It would inhibit honest conversations about what the film was and who it affected.

You know what you do with horrific bigoted art like Birth of a Nation? You have content warnings, like the one I put at the beginning of this reply. You don't spring it on people who don't want to discuss it. You don't put it on for people to watch without warning. You don't tell everyone you know to go and watch it and give it money.

You do things like what Warner Brothers did with their Tom and Jerry disclaimer:

“These animated shorts are products of their time. Some of them may depict some of the ethnic and racial prejudices that were commonplace in American society. These depictions were wrong then and are wrong today. While the following does not represent the Warner Bros. view of today’s society, these animated shorts are being presented as they were originally created, because to do otherwise would be the same as claiming these prejudices never existed.” 

You damn sure don't erase it from history and pretend that ignoring it will solve bigotry. Censorship is not the answer, because censorship is always enforced harder on marginalized artists. You ban racism in film, you ban films by Black artists who are exploring the topic from their own perspective.

When the Hays Code banned "offense to other nations," you know what happened? It didn't stop racism in film, that's for damn sure. It instead gave bigoted censors a perfectly legal and easy way to shut down art by marginalized people, which they did gladly.

The rise of the Nazi Party in Germany resulted in the Reichsfilmkammer demanding the removal of all Jewish workers from Hollywood's European locations. American films began receiving heavy censorship and bans in Germany, and so American studios complied with the Reichsfilmkammer's demands in order to avoid legal trouble in Germany.

Despite the Nazi party's outright hostility toward Hollywood, the MPPDA office discouraged any negative depiction of Germany or the Nazi party. Germany had been such a huge market for American cinema that the Reichsfilmkammer's censorship codes for German films began impacting American-made cinema. Jewish representation in cinema all but disappeared overnight. Joseph Breen, the head of the censor board, was an open antisemite, going on open tirades against Jewish people. His censorship policies were flagrantly bigoted and only served to reinforce that bigotry on a systemic level.

In 1933, Herman J. Mankiewicz and Sam Jaffe tried and failed to make an anti-Hitler film titled "The Mad Dog of Europe." The Hays Code was used to deny the film's production. On July 17, 1933, Will Hays himself ordered the filmmakers to cease and desist, all in the name of "not offending Germany."

Said Joseph Breen, "It is to be remembered that there is strong pro-German and anti-Semitic feeling in this country, and, while those who are likely to approve of an anti-Hitler picture may think well of such an enterprise, they should keep in mind that millions of Americans might think otherwise.”

Variety said about the subject, “American attitude on the matter is that American companies cannot afford to lose the German market no matter what the inconvenience of personnel shifts."

Anna May Wong, a Chinese-American actress, lost out on a leading role in the film "The Good Earth," due to the Code's explicit ban on interracial relationships. The leading man had already been cast with a white man wearing yellowface, meaning that Wong was unable to be cast as the leading lady and love interest, even though the characters were supposed to both be Chinese. The role instead went to a German-American actress wearing yellowface, who went on to win an Oscar for the role.

Censorship doesn't help anyone. Censorship does not protect anyone. Censorship does not prevent bigotry, and in fact only serves to reinforce it.

Anyone who read this far and learned something: being an independent media censorship researcher doesn't exactly pay the bills, so check out my Ko-Fi or Patreon if you learned something and feel generous.

My main sources for this post are:

• Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934, by Thomas Doherty
• The Dame in the Kimono: Hollywood, Censorship, and the Production Code, by Leonard J. Leff and Jerold L. Simmons
• The Encyclopedia of Censorship, by Jonathon Green & Nicholas J. Karolides
• Morality and Entertainment: The Origins of the Motion Picture Production Code - Stephen Vaughn
• Sin in Soft Focus: Pre-Code Hollywood, by Mark A. Vieira
• Forbidden Hollywood: The Pre-Code Era (1930-1934), When Sin Ruled the Movies, by Mark A. Vieira
• Hollywood's Censor: Joseph I. Breen & the Production Code Administration, by Thomas Doherty

And since you made me talk about Birth of a fucking Nation, here are some additional resources for people who are actually interested in Black media history:

• Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation, by Nicholas Sammond
• Archival Rediscovery and the Production of History: Solving the Mystery of Something Good - Negro Kiss (1898), by Allyson Nadia Field
• Humor and Ethnic Stereotypes in Vaudeville and Burlesque, by Lawrence E. Mintz
• The Original Blues: The Emergence of the blues in African American Vaudeville, by Lynn Abbott and Doug Seroff
• Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era, by Brenda Dixon Gottschild
• Darkest America: Black Minstrelsy from Slavery to Hip-Hop, by Yuval Taylor and Jake Austen
• Love & Theft: Blackface Minstrelsy and the American Working Class, by Eric Lott
• The Prettiest Girl on Stage is a Man: Race and Gender Benders in American Vaudeville, by Prof. Kathleen B. Casey
• Dancing Down the Barricades: Sammy Davis, Jr. And the Long Civil Rights Era, by Matthew Frye Jacobson
• Blackface, Whiteface, Insult and Imitation in American Popular Culture, by John Strausbaugh
• A Change in the Weather: Modernist Imagination, African American Imaginary, by Geoffrey Jacques
• Hollywood Black: The Stars, The Films, The Filmmakers by Donald Bogle
• The Blackface Minstrel Show in Mass Media: 20th Century Performances on Radio, Records, Film, and Television, by Tim Brooks
• Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era, by Pearl Bowser, Jane Gaines, and Charles Musser
• America on Film: Representing Race, Class, Gender and Sexuality at the Movies, by Harry M. Benshoff and Sean Griffin
• White: Essays on Race and culture, by Richard Dyer
• Black American Cinema, edited by Manthia Diawara
• Colorization: One Hundred Years of Black Films in a White World, by Wil Haygood
• Framing Blackness: The African American Image in Film, by Ed Guerrero
• Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films, by Donald Bogle
• White Screens, Black Images: Hollywood From the Dark Side, by James Snead
• Reel Inequality: Hollywood Actors and Racism, by Nancy Wang Yuen
• The Hollywood Jim Crow: the Racial Politics of the Movie Industry, by Maryann Erigha

*shoves customer aside and leans fully over into pen*

*reaches into pen indiscriminately and shoves whatever introvert i grab into my mouth alongside the beds and wood shreds and little toys*

*chews and swallows*

*reaches in again*

*store owner tries to pull me away but i push her to the side pull the handgun from my purse and shoot her in the head*

*keep eating*

fanart

He ate her last pudding

@thefebruaryfriday