#jackie black

[marxistmiku]

top 10 jackie black moments

[jay-wasstuff]

[lxvvie]

Unlike the other men who'd text you back if you tell them you're leaving and want a divorce, Price won't respond. Oh, no, honey, that's not his style.

You think you're in the clear, crossing your t's, dotting your i's, and setting your new place up. You'd always love your Jack but it was time to move on, and move on you did.

It wasn't until you woke up one morning to the smell of—wait. Wait a fucking minute—what the fuck—who... who the fuck is in your kitchen?! And just like that, peace turned to fear and apprehension. You stumbled out of your bedroom to see Price cooking up your favorite breakfast. How did he—?

"Sit down, sweetheart." Your husband didn't turn away from the stove once.

You were too stunned to do anything else.

Price set breakfast out in front of you with your favorite drink in tow—just like you like it. You began to eat but everything felt heavy and it was hard to swallow.

And then Price lit a cigar, took a few puffs, looked at you, and smiled his disarmingly charming smile, cheeks big and everything.

"We need to talk, darling."

[soapbubbles511]

What the hell was in that brandy?

[elainiisms]

every time i see a female character garner lots of hate she immediately becomes my favourite and i take my role as her defence attorney

[luvlyycy]

"fuck, make me a mommy, 'chigo. pleeeaase.." you push your ass back on the orange haired male, his whole body shudders— "ya wanna be a mommy?"

"fuck, yes please."

he groans as he flips you over, hands pushing your legs sharply against your chest, folding you into a mean mean mating press.

his mouth hangs open as he fucks you, squelching and slapping clouding your mind as he bullies his fat cock into your juicy and squishy pussy.

"ohh fuck, baby. tell me how much ya wanna be a mommy, yeah? tell daddy just how bad you want 'im to breed ya." he grins when your tongue lolls out your mouth, drool slipping down your chin.

"shhoooo— byaddd... !! so bad. s'fuckin'bad!! omigod, 'm g'nna—"

"cum." ichigo demands, pushing his dick as far as it could go inside of you. your squishy body feels so good beneath his rock hard one..

you let out a sharp shriek as you cum all over his cock, creaming and squirting— he lets out a deep grunt as he does four more thrusts before cumming inside and filling up your greedy womb like you told him too.

"guess 'm gonna be a daddy.."

[gingertippers]

Spanish Jackie for NYCC! First time I styled a wig I added wefts and shaped those curls there. Felt completely badass all I needed were about 20 husbands.

[thechanelmuse]

Jackie Ormes, the first Black American woman cartoonist

When the 14-year-old Black American boy Emmett Till was lynched in 1955, one cartoonist responded in a single-panel comic. It showed one Black girl telling another: "I don't want to seem touchy on the subject... but that new little white tea-kettle just whistled at me!"

It may not seem radical today, but penning such a political cartoon was a bold and brave statement for its time — especially for the artist who was behind it. This cartoon was drawn by Jackie Ormes, the first syndicated Black American woman cartoonist to be published in a newspaper. Ormes, who grew up in Pittsburgh, got her first break as cartoonist as a teenager. She started working for the Pittsburgh Courier as a sports reporter, then editor, then cartoonist who penned her first comic, Torchy Brown in Dixie to Harlem, in 1937. It followed a Mississippi teen who becomes a famous singer at the famed Harlem jazz club, The Cotton Club.

In 1942, Ormes moved to Chicago, where she drew her most popular cartoon, Patty-Jo 'n' Ginger, which followed two sisters who made sharp political commentary on Black American life. 

In 1947, Ormes created the Patty-Jo doll, the first Black doll that wasn't a mammy doll or a Topsy-Turvy doll. In production for a decade, it was a role model for young black girls. "The doll was a fashionable, beautiful character," says Daniel Schulman, who curated one of the dolls into a recent Chicago exhibition. "It had an extraordinary presence and power — they're collected today and have important place in American doll-making in the U.S."

In 1950, Ormes drew her final strip, Torchy in Heartbeats, which followed an independent, stylish black woman on the quest for love — who commented on racism in the South. "Torchy was adventurous, we never saw that with an Black American female figure," says Beauchamp-Byrd. "And remember, this is the 1950s." Ormes was the first to portray black women as intellectual and socially-aware in a time when they were depicted in a derogatory way.

One common mistake that erased Ormes from history is mis-crediting Barbara Brandon-Croft as the first nationally syndicated Black American female cartoonist. "I'm just the first mainstream cartoonist, I'm not the first at all," says Brandon-Croft, who published her cartoons in the Detroit Free Press in the 1990s. "So much of Black history has been ignored, it's a reminder that Black history shouldn't just be celebrated in February."

Source

[diesel-punk]

I never posted these over here cause I'm bad at upkeeping my tumblr page, but today seems like a good day for sharing some fruity pirate brainrot. I love them all.

[bohemian-nights]

Jackie Brown (1997) dir. Quentin Tarantino

[heartmis]

#the average tumblr user

[marxistmiku]

snoot

[saltpepperbeard]

You'll never know which way to turn, which way to look, you'll never see us

[classicfilmblr]

DOUGLAS FAIRBANKS in THE BLACK PIRATE — 1926, dir. Albert Parker The most celebrated sequence of the film, and perhaps of Fairbanks's entire career, is the moment in which the Black Pirate, when capturing a galleon single-handedly, slashes a line with his knife, catches the end of the mizzen, and swings upward with the wayward sail to the main topsail. He then plunges his knife in to the canvas of the topsail and slides down the sail, supported by the hilt of his knife as it severs the canvas in half. He rends the mainsail in the same manner. The feat is so spectacular that Fairbanks repeats it once more with the fore topsail, rendering the ship powerless. The Black Pirate swings through the lines to the forecastle, swivels about a pair of cannons he has commandeered, and holds the crew as helpless as the galleon itself.

The sliding down the sails is a grand stunt, building on Robin Hood's celebrated descent down the enormous drapery in Robin Hood [1922]. The 43-year-old showman is in top physical form, and the appearance of effortlessness, the breathtaking arcs of movements, and the sheer joy with which he accomplishes the impossible are ample demonstrations of Fairbanks's kinetic genius.

The sequence was achieved with separate sail sets engineered by Robert Fairbanks on the back lot, apart from various ship settings, and erected on an angle away from the cameras (which were also on an angle). The sails, according to Douglas Fairbanks, Jr., were "pre-sliced and then stitched up invisibly. . . .The knife was rigged with piano wire, pulley, and counterweight. . . .He would thrust his knife into the sail and there would be a quick cut. The next cut would be of him holding the special knife connected to the hidden pulley and counterweight."

Airplane propellers behind the canvas provided the billowing effect for the sails. As with all of his stunts, Fairbanks wore a wire harness, and his arms and legs were taped to prevent friction burns. Although no one doubted at the time that he performed the stunt, William K. Everson later maintained that Fairbanks did not do so himself. But the accounts of Albert Parker, Douglas Fairbanks, Jr., and Chuck Lewis and the surviving outtakes from the scene itself dispel any claim that Fairbanks did not perform his most famous feat. Fairbanks's bravura stunt was subsequently pirated by a stunt double for Errol Flynn in Against All Flags (1952) and by Orlando Bloom in Pirates of the Caribbean 2: Attack of the Kraken (2006).

One of the immediate effects of the famous sequence was all the injuries sustained by impressionable children imitating their screen idol. Edward Wagenknecht wrote, "One shudders to think how many broken arms and legs he must have been responsible for among the children of America during the years of his vogue." Robert Parrish, a future director and film editor, was one such child. He recalled having seen The Black Pirate in his hometown of Columbus, Georgia, and immediately wanting to emulate the spectacular Fairbanks stunt:

"As a seven-year-old, I had seen Douglas Fairbanks in The Black Pirate plunge a knife into the sail and riding the knife down to the deck. I tried the knife stunt myself that afternoon with a borrowed linen bed sheet. Some friends and I attached it to the limb of an oak tree about ten feet off the ground. I climbed the tree with a butcher's knife in my mouth trying to smile like Fairbanks—I soon tasted blood in my mouth—and pointed the knife at the sheet and jumped. The sheet crashed down upon me like a deflated parachute and the knife flew out of my hand. I landed on the ground with a broken arm, the wind knocked out of me, and blood running from my Fairbanks grin."

[invisible-pink-toast]

yellowjackets as animals

[dimity-lawn]