the funny thing about dril posts is that they actually do have a structure to them– they hit a kind of conceptual caesura halfway through, a point where there’s no inevitable logical connection between what’s been said and what’s still to come. here, the first sentence didn’t need to result in the second, yet it’s not “lol random” either; the speaker is angry about his boss’ draconian ferret-kissing policy, and reacts in kind, and even the reference to a “screen saver” reminds us that we’re in an office. it’s a narrative progression that, despite having an internal logic, alienates its punchline from its setup. who the hell is this person?
one thing i love about @dril posts is how they all seem to take place in a universe that is somewhat like our own, but with the habitus of white middle america taken to a bizarre, absurd, but strangely logical conclusion. take this one, for instance:
so we have our setting: a security guard protecting the american flag in the betsy ross museum, something almost archetypically american and middle class. but once again the first part, or setup, for the punchline, “fucking the flag,” careens the joke into an alien punchline that still, given the setting, makes sense. @dril’s security guard character imitates a sort-of cop-talk, the banter of a security guard, “buddy, they wont even let me fuck it”. you can imagine a similar response from a guard at any museum, but we’re talking about Fucking the American Flag, here.
i really love @dril.
it’s astonishing that a human being thinks of those posts. some person, someone out there whose existence we have to infer, because all we know is that those posts occur and they must be coming from somewhere. “the @dril tweeter” resonates as “the beowulf poet” does, except beowulf (which i’ve only read in translation, so i’m not an authority) has never made any use of the english language as baffling and sublime and somehow primally interlaced with the stuff of human consciousness as “IF THE ZOO BANS ME FOR HOLLERING AT THE ANIMALS I WILL FACE GOD AND WALK BACKWARDS INTO HELL.”
This is my favorite post, I am so glad I found it again.
Men make $1.22 for every woman’s $1.
It interests me that even the most common simple measure of gender inequality is firmly based on male-as-normative …
this is an interesting point, although mathematically inaccurate: assuming the women:men, 0.78:1 ratio is correct, men make $1.28 for every woman’s $1
White people are still the ~standard so that’s not so revolutionary.
A white man makes $1.34 for every dollar that a black man makes
A white man makes $1.52 for every dollar that a latino man makes
A white man makes $1.24 for every dollar that a white woman makes
A white man makes $1.44 for every dollar that a black woman makes
A white man makes $1.67 for every dollar that a latina woman makes
That’s some bullshit right there.
If you take away anything from this website, please let it be what I bolded ^
Let’s take it a step further. For every hour a white man works, a black woman has to work 86 minutes to earn as much money. 57.6 hours a week compared to the white man’s 40.
Take it another step further. Assuming a Monday through Friday, 9 to 5 job, from Thursday 12:45pm through Friday end of business, a white man gets paid for his work, a black woman is, by comparison, working for free.
Photographer Walter Sachels was terrified of death, so much so he refused to see his mother after she passed away. Upon entering his 70s, Schels finally decided to overcome his fear through a bold, bizarre project – photographing individuals before and directly after their death.
Schels and his partner Beat Lakotta began approaching potential individuals at hospices in Berlin and Hamburg. The pair were on constant alert, at times running out in the middle of the night to shoot before the undertaker would come.
Though emotionally draining, Schels recognized that the series became an important epitaph to people before they actually died. With family and friends unable to cope with the looming truth, terminally ill patients often feel completely isolated.
“It’s so good you’re doing this”, Schels quoted a dying man to The Guardian, “No one else is listening to me, no one wants to hear or know what it’s really like.”
Schels is no longer terrified of death and now sees avoidance of the issue as a serious problem in contemporary society, people unable to be truly present for loved ones when they need them most. Life Before Death is an attempt to confront our worst fears and perhaps, to see those nearing the end in a more human light. For the individual stories behind each of the portraits click here.
This is so beautiful.
Ozzy yelling at the ocean for flooding his campfire.
Ozzy is a national treasure
someone bring this show back
Dan Tobin Smith's sweeping color gradient installation in his London studio is a sight behold
this makes me happy
(Source: exhibition-ism.com )