July 29, 2014


Peter Murphy, frontman of the legendary post punk/goth band Bauhaus, modelling for Maxell`s iconic early `80s audio cassette UK ad campaign. The music that blows him away in the ad was not of Bauhaus but Modest Mussorgsky`s classical masterpiece "Night on Bald Mountain" (though the use of Bauhaus design elements, like the Le Corbusier LC-2 armchair and the specific flat, can definitely be perceived as hints for the “insiders”…).

Watch the ad, here.

(Source: fitzrobert, via mercurialblonde)

July 29, 2014




Cameron Stewart reimagines the Marvel family for Grant Morrison’s “The Multiversity”


There would be comics that looked like this every month if we didn’t live in such a broken world

(via comicsriot)

July 27, 2014

This is my friend Chris Burns performing and telling the story of how his apartment burned down, at a benefit show some years ago. It’s kind of amazing.

July 27, 2014
"Among the most troubling political consequences of the failure of antiracist and feminist discourses to address the intersections of race and gender is the fact that, to the extent they can forward the interest of ‘people of color’ and ‘women,’ respectively, one analysis often implicitly denies the validity of the other. The failure of feminism to interrogate race means that the resistance strategies of feminism will often replicate and reinforce the subordination of people of color, and the failures of antiracism to interrogate patriarchy means that antiracism will frequently reproduce the subordination of women. These mutual elisions present a particularly difficult political dilemma for women of color. Adopting either analysis constitutes a denial of a fundamental dimension of our subordination and precludes the development of a political discourse that more fully empowers women of color."

— Kimberlé Crenshaw, “Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color” (via digital-femme)

(Source: alexisjennelle, via postcardsfromspace)

July 27, 2014


Madeline Kahn ad-libbed the short monologue about her hatred for Yvette the French maid. 

Clue (1985)

That’s a beautiful description of what it feels like to passionately hate someone.

(Source: barbarastanwyck, via fireami)

July 27, 2014

(Source: alexej, via lumpenfag)

July 27, 2014


So, there was this not-at-SDCC superhero costume party.

My original plan was to make the most half-assed civilian-clothes Cyclops costume ever: plaid pants if I could find ‘em on short notice, khaki slacks otherwise; button-down shirt; maybe a tie; one of my embarrassingly numerous pairs of red sunglasses.

I don’t generally dress up as fictional characters with whom I identify; the discrepancies bug me too much. I dress up as ones whose outfits I like, or who look and/or dress like me. But this was easy. And the plainclothes version—not trying to copy a specific look from the comics—meant discrepancies weren’t as big a deal.

The built-in gag, of course, was that I would then stand in the corner and look vaguely uncomfortable, which is pretty much my M.O. at parties anyway.

And then I was pants-hunting on Tuesday, and I found this blue polo shirt, and I thought, oh, wait, I could do that one Cyclops #2 outfit. Hell, I already basically have that haircut. And look like a teenage boy.

I shot off a text to my friend Benja: “I realize this is a completely insane question, but is there a chance you could help me make a Cyclops visor between now and Friday?”

He could. Did.

Friday night, I put the whole thing together, and I took some photos, and it was so damn easy. That awkward-teenager body language. Hands in pockets; shoulders up, hunched a little; always on guard. It helps that my face is shaped pretty similarly to the way Dauterman draws Scott’s, but the expressions in the photos are all mine.

Here’s the thing: Dressing up as this awkward motherfucker was basically license to—for the first time I can remember—act like myself at a party. To just kinda run with the body language and facial expressions—or lack of expressions—I’m usually trying desperately to tamp down. Not to worry about what to do with my face when someone else was talking.

The visor made eye contact a nonissue.

On one hand: yes, it’s absolutely a costume. On the other hand: details aside, this is how I look when you aren’t looking. This is how I stand. This is what I do with my hands, my face, the angle of my head. Take away the visor, and this is a lot closer to me: what most people see only if I’m tired or upset enough to drop the act.

My favorite costumes often involve masks: the Question, the WandererDapper Astronaut. I like the freedom of relative anonymity; more, I like the social buffer, the luxury of getting to pay attention to things without having to worry about eye contact or what to do with my face. It’s the freedom of sunglasses, magnified exponentially.

Movement—well, it’s not like I move like myself most of the time anyway. Adapting to walk and stand like someone else—Montoya’s swagger, the Wanderers’ glide, Dapper Astronaut’s disheveled slump—wasn’t a big deal.

But Cyclops—at least, this version—stands like me. In theory, moves like me. That’s what sells the costume, more than the outfit, more even than the visor: all the things my mom tells me not to do in photos.

There’s an image I work very hard to sell: shoulders down, head up, face forward. Confident, crisp, detached, a stylish sort of disheveled. I dress for it. I practice facial expressions in the mirror. I mirror other people’s faces. In photos, in conversation, I do Spockface a lot—one eyebrow raised, one end of my mouth quirked subtly in a lopsided not-quite-smile—because it’s one I know I can pull off with relative consistency, because it fits the brand.

It’s not a lie, exactly—more, curation. It’s the same thing I do on social media, in my writing, as I move from context to context, sphere to sphere. It’s so habitual that I forget how much work it takes.

Until—for a night—I stop.

I love everything about this, both the pictures and the text. And I also want to say that I am very jealous of adult women who can convincingly cosplay teenage boy characters.

July 26, 2014

(Source: deeeznvtzzz, via deeeznvtzzz)

July 26, 2014

(Source: youthxenrage, via lumpenfag)

July 26, 2014

i made a comic that literally no one else will understand because i want to remember the time i, at the age of 19, almost stuck my hand into a running garbage disposal until my mom told me not to


i made a comic that literally no one else will understand because i want to remember the time i, at the age of 19, almost stuck my hand into a running garbage disposal until my mom told me not to

(via badgerjaw)