joi, 29 martie 2012

spurcaciuni comuniste promovate de democrati


cu ce se ocupau javrele comuniste(Saakian,Popa,Budeanu…)din organele de drept in 2009

aceste javre


comuniste din organele de drept,
-Saachian,-seful politiei criminale CGP,
-Popa,-procuror,sef al sectiei exercitare a urmaririi penale pe cazuri exceptionalea PG,
-Budeanu,- vicecomisar a Comisariatului Buicani…
pe langa faptul ca fabricau dosare cu ,,jumere,, si persecutau lumea in perioada comunista in 2009 ,acum 2012 in guvernarea democratica sunt toti avansati :
-Saachian,- sef a SPC a CGP
-Popa,-procuror sect.Rascani,
-Budeanu R. ,transferat in MAI/Minister…
Analizati aceste documente(subiectul) din dosarele penale intentate de dansii si vedeti cu ce se ocupau aceste sectii importante in perioada regimului totalitar comunist si deduceti cu ce se ar putea ocupa in acesta guvernare cu naravurile lor.

pigs walking 150x150 cu ce se ocupau javrele comuniste(Saakian,Popa,Budeanu...)din organele de drept in 2009


http://brega.wordpress.com/2012/03/28/asa-eram-interceptat-intreg-anul-2009/

luni, 26 martie 2012

http://theoatmeal.com/comics/pigs

Banal Pig Comic #3 by Steven Tillotson

toonhole.com

http://f-ckyeahheadlines.com/post/3873926103

http://pigsinmaputo.blogspot.com/

Voices from the Collective: Emory Douglas Roasts Pork

There was more to the Black Panther Party than traditional dignity in resistance. There was also its sense of style, from the elegant to the outrageous. Mike Mosher Issue #67, April 2004 In her essay The Revolution Will Be Visualized: Emory Douglas in The Black Panther artist/designer Colette Gaiter celebrates an important American political graphic artist. Her essay is the aesthetic and contextualizing appreciation that Emory Douglas' work thirty-some years ago deserves, citing his influences and motifs and placing him in art history. The essay showcases forceful posters, including photo collage work reminiscent of Romare Bearden, and expressive drawings of righteously indignant black women and oppression-resistant families. Though angrier, the artwork has a dignity that now seems a continuation of the earlier church-based Civil Rights movement. Yet there was more to the Black Panther Party than traditional dignity in resistance. There was also its sense of style, from the elegant to the outrageous. In its choice of an animal name, its fashion sense and the public display of guns, the BPP had an agressively provocative visual style. Perhaps its style was more deliberately upsetting than the Party's primary activities — legal actions, neighborhood programs and voter registration — might have deserved. This reader misses a significant part of Douglas' visual contribution to the Panther aesthetic in Gaiter's otherwise attentive paper. For as an Emory Douglas fan since adolescence, I can't help but ask: Where are the pigs? Famous for his many porcine cartoon policemen, Douglas discussed his pigs when he lectured during a 1995 exhibition at S.F.State, and speaks of pig symbolism in an interview, so he hasn't disowned those images. There is some suggestion of Douglas' comic stylization of the troops of oppression in the "Shoot to Kill" graphic Gaiter provides. To any inner-city neighborhood resident constantly hassled (at worst, beaten or shot) by sweaty, overweight Caucasian men with bellies rolling over their uniform belts, the police grotesquely represented as swine must've been bitterly, hilariously apt. They are drawn as repulsive as the complacent bourgeoisie of 1920s Berlin beneath the pen of George Grosz, as they should be. The breadth of Douglas' work for The Black Panther newspaper might be suggested in comparison to other, later East Bay leftist postermakers. Inkworks carries on traditon of his stately political posters, the aspect of Douglas' work well-represented in Gaiter's essay. In depictions of corporate and military criminals, Doug Minkler continues the jagged Punk strain of Douglas' pigs, which the essay omits. Douglas took Black Panther readers in both of those visual directions, the well-rendered and the outlandish, directions seemingly contradictory but chosen appropriately to carry the content and message of the artwork. In his pig-headed policemen, we remember that Douglas was a Bay Area contemporary of Robert Crumb, the ZAP Comix artists, and Dan O'Neill's sexual and politicized appropriated Disney characters. One might assume the artist's familiarity with bloodthirsty tales by S. Clay Wilson, whom Douglas' cartoons of vengeance upon snout-nosed cops probably influenced in turn. Outrageous caricature and comics have a place in progressive activism, so any overview of Emory Douglas must not be restricted only to his "realistic" work. Let us celebrate, along with his more traditional communication design skills and political passion, that which was funny and over-the-top from Emory Douglas. You can't have 1968 Oakland without the oink. Bad Subject Mike Mosher discussed political graphics in Eye Candy Like a Raised Fist: Graphics For Political Words, which appeared in Bad Subjects #27. http://bad.eserver.org/issues/2004/67/mosher.html

Sean Madden

http://www.beerlivery.com/jimlopez/comicsill/seanmadden.html

http://bigeyedeer.wordpress.com/2007/04/17/sorry-sir-this-cartoon-is-slightly-overdue/

http://banjopigs.blogspot.com/

http://mikelynchcartoons.blogspot.com/2010_06_01_archive.html

http://pigtalescomic.wordpress.com/

http://steveogden.com/blog/tag/cubicle-pigs/

http://blog.youcanputlipstickonapig.com

joi, 22 martie 2012

pig talking about his dad

http://www.youtube.com/watch?feature=player_embedded&v=A8iOWFxDuOI

Three Little Pigs + 1 (1961) - Fractured Fairy Tales

http://www.youtube.com/watch?v=pYiCM35V7_w&feature=endscreen

marți, 20 martie 2012

Here's a screenshot from a commercial for White Castle's BBQ Pulled Pork Sliders featuring a stripper / burlesque dancer dressed in a pig costume that gets doused in barbecue sauce from above as part of the dance routine. This commercial is kind of a surprising display, referencing plushophilia or furry fetishes as well as wet and messy fetishism (WAM)...
http://www.eatmedaily.com/2009/05/white-castles-pig-stripper-commercial-for-bbq-pulled-pork-slidersvideo/

Ballerina Pig

http://muppet.wikia.com/wiki/Ballerina_Pig Ballerina Pig Performer: Graham Fletcher The Ballerina Pig, with Rudolf Nureyev Design Team:
Michael K. Frith • (designer) Mari Kaestle • (builder) According to Brian Henson, the Ballerina Pig puppet was built in response to Rudolf Nureyev's desire to dance with Miss Piggy in The Muppet Show. Due to the obvious complications of attempting a dance piece with one partner who does not exist below the waist, a compromise was made, and Nureyev was paired in episode 213 with a pig dancer for Swine Lake. Some of the publicity surrounding this episode of The Muppet Show, including a piece in TIME magazine, mistook the Ballerina Pig for Miss Piggy herself. The mistake was perpetuated in later years, from a 1988 New York Times piece on Nureyev's birthday to a 1999 LA Times discussion of Miss Piggy while reviewing Muppets from Space. They are, in fact, two different characters; this porcine dancer, apart from being a full body character, was also brunette. The ballerina pig was built out of foam rubber, with measurements of 104 inches by 80 inches by 96 inches, and wore a tutu made from 40 yards of tulle. The puppet was used again in the series as the giant pig impersonating Sweetums in episode 224.

Sutien autor necunoscut

Sursa http://cruelanimal.blogspot.com One of the many I found on the net...

Petroushka

The Russian Ballet, also known as the Ballets Russes, was founded by Serge Diaghilev* (1872-1929). Diaghilev, the Russian Ballet's producer and creative director, rejected conventional ideas of ballet. His great achievement was to integrate design, music and dance. By encouraging the artistic collaboration of painters, choreographers and composers, Diaghilev created a new art-modern ballet. From 1909 until 1929 the company performed in Paris, throughout Europe and in North and South America. Ironically, the Russian Ballet company never appeared in Russia. http://bibliodyssey.blogspot.com/2010_03_14_archive.html

sâmbătă, 10 martie 2012

A sweedish TV show

sourse Anna Kabisova's profile on facebook