Suck my dick water.
I’m sorry I don’t mean it.
I like this art.
Suck my dick water.
I’m sorry I don’t mean it.
I like this art.
What incredibly good looking people.
I love my skin!
self love, child style
Indigenous people continued to resist by burning settlements and killing and capturing settlers. As an incentive to recruit fighters, colonial authorities introduced a program of scalp hunting that became a permanent and long-lasting element of settler warfare against Indigenous nations. During the Pequot War, Connecticut and Massachusetts colonial officials had offered bounties initially for the heads of murdered Indigenous people and later for only their scalps, which were more portable in large numbers. But scalp hunting became routine only in the mid-1670’s, following an incident on the northern frontier of the Massachusetts colony. The practice began in earnest in 1697 when settler Hannah Dustin, having murdered ten of her Abenaki captors in a nighttime escape, presented their ten scalps to the Massachusetts General Assembly and was rewarded with bounties for two men, two women, and six children.
Dustin soon became a folk hero among New England settlers. Scalp hunting became a lucrative commercial practice. The settler authorities had hit upon a way to encourage settlers to take off on their own or with a few others to gather scalps, at random, for the reward money. “In the process,” John Grenier points out, “they established the large-scale privatization of war within American frontier communities.” Although the colonial government in time raised the bounty for adult male scalps, lowered that for adult females, and eliminated that for Indigenous children under ten, the age and gender of victims were not easily distinguished by their scalps nor checked carefully. What is more, the scalp hunter could take the children captive and sell them into slavery. These practices erased any remaining distinction between Indigenous combatants and noncombatants and introduced a market for Indigenous slaves. Bounties for Indigenous scalps were honored even in absence of war. Scalps and Indigenous children became means of exchange, currency, and this development may even have created a black market. Scalp hunting was not only a profitable privatized enterprise but also a means to eradicate or subjugate the Indigenous population of the Anglo-American Atlantic seaboard. The settlers gave a name to the mutilated and bloody corpses they left in the wake of scalp-hunts: redskins.
This way of war, forged in the first century of colonization – destroying Indigenous villages and fields, killing civilians, ranging and scalp hunting – became the basis for the wars against the Indigenous across the continent into the late nineteenth century.”
The origin of the word “Redskins.” (Source)
This is an excerpt from An Indigenous Peoples’ History of the United States by Roxanne Dunbar-Ortiz. The book will be released later this month (September 2014).(via thomassobien)
Presented without additional comment.
This. I even have a dress this good :)
tonight’s project: become aggressively high and put everything up on the walls
nothing will be left in tubes or boxes
I’m starting with Patti Smith
There is a real actual Spiderman comic where he pretends this is his power and the bad guys drop their weapons and give up. XD And it makes me happy.
Here it is:
No one can ever say spiderman is not the best superhero of all time.
if i fail to reblog this, assume i am dead.
THE WRITER OF OZYMANDIAS, MOIRA WALLEY-BECKETТHow did you end up working on Breaking Bad?
I came on board in Season 2. I was obsessed with the show after watching it in Season One. I was working on another show at the time and the writer’s strike hit and suddenly I had all this time on the picket line and I just couldn’t stop thinking about Breaking Bad.
So I wrote a spec script and my agent was like, “Don’t fucking do that. That’s ridiculous. You can’t write a spec script on a show you actually want to work on. You have to write a spec script of some other cable show and then I can get it to Vince Gilligan’s producers.
But I can get kind of crazy obsessive like that and I just had the need to write it. I had the characters voices stuck in my head.
On the very day I was being offered a job on a network show my agent got me a meeting with Melissa Bernstein, one of the producers on Breaking Bad, basically just to shut me up. I went in and met her and I mentioned that I’d written a spec and she was like, “Really?” She was completely shocked and said that Vince would be so thrilled to know that someone loved the show enough to write a spec.
I felt like a goofy fan girl (which I was) and when she asked me “What’s it about?” I just sort of pitched it out.
I guess she liked the pitch because she was like, “Wow. Can I read it?” and I said, “I’m pretty sure there’s like six reasons why not.” And she looks me in the eye and says, “Can I read it?”. It was a Vegas moment. A gamble.
At this point I’m getting offered another job that afternoon and I haven’t finished Act 4 of the Breaking Bad spec. I told her she could read it and I’d get it to her the next morning.
So, I went to the job interview. They offered me the job. I went home. I finished Act 4 that night. I sent it to my agent the next morning, a Friday. He read it. He sent it to Melissa. Melissa read it. She sent it to Vince.
Come Monday, I’m sitting by the phone thinking, “What’s going to happen in my life?” And the other show is going, “Okay, we made the offer when are you going to counter? What’s happening?” and we’re like, “Just a second.” I didn’t hear anything all day. It was the world’s longest day, let me tell you.
Finally, at 4 o’clock that Monday afternoon I get a call. “Vince Gilligan wants to meet you.”
So I jumped in my car and raced across town and… it was kismet. He uttered the best sentence ever to me. With his sweet Virginia accent, he says, “I don’t know how you did that. I don’t know how you knew the characters so well, but my intention is to offer you a job — I just don’t know if I have a job to offer.” And I was like, “I’ll TAKE IT!” and he’s like, “Wait, wait, wait you better talk to your agent. Because we don’t even have a pickup and I don’t know what’s going to happen.”And I was like, “I’ll TAKE IT!”
So I turned down the other job and I waited. I waited for over 6 weeks to hear if there was even going to be any more Breaking Bad at all.
Finally, they got picked up for Season Two and I’ve been on the show ever since.
CINEMATIC MILES MORALES COSPLAY
Yo! My name is Nikolas A. Draper-Ivey…This is cosplay as Cinematic Miles Morales: The Ultimate Spider Man. This suit was made by Jesse Covington ( Writer and Costume Designer) and sewn by Sasha Williams ( Fashion Major graduate). Photos were taken by Pierre BL Brevard I specifically would like to thank Marvel Comics Artist Sara Pichelli for designing this character. I’m also very excited to see Olivier Coipel's work on Spider-Verse!
(Full shoot will be shot in New York itself just in time for NYCC)
Fetishization isn’t real though, right..? My ass. Fetishization kills. Asian fetishes kill. Everyone needs to wake up. This isn’t the first or last story to be told.