#rapf

[l-ii-zz]

Rarl Kove’s redesign for my AU.

He won’t be an important character but I have some interesting stuff for him in mind :)

[lightningchu-the-mega-raichu]

Doodles of the Tallest, mostly Purple.

REBLOGS > LIKES

[candylitaaa]

I forgot to post this here lol

A RaPr drawing for a Flasho-D's event! Can be interpreted as RaPf too

[almaroy]

He said it

[ms-scarletwings]

An Almighty Red bored out of his mind with no one to rib or jest with besides an orbiting staff of pissant brown nosers.

Or,

An Almighty Purple adjusting (poorly) to becoming the sole icon responsible for the morale/leadership of a population he’s unable to choke down his pettiness towards.

An Almighty Red fulfilling a higher purpose to the Empire with the numb diligence of a proper drone creeping over his demeanor in the passing years. A fledgling despot maturing into a focused, serious general, infamous across the dying cosmos.

Or,

An Almighty Purple reconciling himself within a gilded cage- overwhelmed and frustrated with the pressure of managing himself, let alone an Empire of subjects, let alone both as well as the logistics of a full scale invasion of a thousand worlds….. yet also neither able nor willing to forfeit his place in the greater machine. The crown he wears is heavy, but his consolation will be the power he can still wield over the inferiors below him. Already once a cruel bully and a punching bag in the same vein, now an uncontested tyrant whose whims will have his servants living on eggshells.

An Almighty Red becoming more obsessively attentive toward, paranoid of, and appeasing to Zim than ever before out of recognizing a clear pattern for what it is and desperately trying to mitigate further harm to the armada. All to assuage the hidden terror that is gnawing at his circuits. Impending Doom II, and all that is left, must endure.

Or,

An Almighty Purple that, even if he wanted to uphold the ruse, has no one beside him to save face and cover for the countless times the truth would slip straight through his teeth anyway. Even more so, now that all he can think of with Zim’s abhorrent face in his sight are the countless ways in which his retribution will be formidable and agonizing. Impending Doom II can stand to wait. Even if it bleeds their military dry, seeing this specific Irken get what’s coming to him is what now matters, the decree of the control brains be damned.

An Almighty tallest who lost the one organism in the universe that could relate to him in the way only a friend who he knew from childhood could. He hasn’t laughed at the greatest joke ever played since the day he found out who was really the butt of the punchline.

Or,

An Almighty tallest who lost the one organism in the universe that could relate to him in the only way any member of his species ever would. He hasn’t laughed at the greatest joke ever played since the day it stopped being funny.

Ok but imagine if there was ever a scenario where a Zim antic that resulted in the death of just ONE of the two Almighty Tallests- Rather than the Florpus double kill or them both surviving ala “Backseat Drivers”

[kaccvcate]

This may surprise my fans, but in my life I often find myself to be a very unloved person, despite my best efforts. Perhaps that's why I feel the need to defend the unloved and controversial. Somehow more provocative now than when it was made in 1946, my favorite hill to die on is Song of the South. The last time I wrote about this movie I was 19, and although I had a fairly adequate defense, I believe now I have a much more nuanced understanding of history, and can do it more justice.

When this film was made, the United States army had only recently been desegregated, and the Deep South was still under apartheid. It's based on a book featuring stories collected by a white author who worked alongside black laborers on plantations, controversial when it was published in 1881 for the dignity it gave to "folk stories" (how some people pronounce "non-Christian religion.") I haven't read the book, but like it or not, racists hated it when it was published, and that means it was a daring and revolutionary piece of literature. For those who are not familiar with United States history, slaves were legally granted their freedom in 1864. I could get into the fact that slavery is still alive and well in United States prisons, perpetuated by racist laws targeting certain ethnicities, but that is a whole nother can of worms.

The script was written by Dalton Raymond, who had actually lived in the south, and Maurice Rapf, a Jewish communist. Some parts of Rapf's draft had to be toned down for fear of censorship, but the whole movie is reflective of his touch. The black actors are the only authentically southern characters, the white actors were all Hollywood people (and as a red person living here in Mississippi I can tell you exactly why.)

The most important part of this film is the animated sequences depicting myths about the character Br'er Rabbit. Many people see race as an issue of black and white, but reality is a lot more complicated. In reality, many natives of all nations were sold into slavery by their friends and family. A lot of black people are actually native as well as African. Specifically the stories that Uncle Remus tells are Muskoke in origin, and I know this because my great grandmother told them to me, and she never saw this movie. James Baskett tells the stories with familiar ease, he performs the voice acting for the majority of the characters. This means he was intimately familiar with the stories, and judging by his accent, I would say he is probably Muskoke, which means he is the same race as me. The movie centers around his phenomenal performances. Over and over, the black actors are more effective in their roles, but due to their race only a few of them were given the opportunity to perform in other movies.

Some have attacked this movie for the characters talking as if they're "stupid," which is incredibly offensive since the black actors have clearly been allowed the freedom to write their own lines, they speak very naturally and are written with complete dignity. Simply I would be able to tell if a honky or Jew had written fake dialect for them, and I've watched the movie with a black friend from rural Georgia, who emphatically confirmed it was how his family spoke when he was a child. Multiple actors have distinctive Muskoke accents. The stories themselves are about animal characters outwitting each other competitively, and have a lot of wisdom in them (in my humble opinion.) In Asian cultures "zen" is celebrated for its superficial simplicity, which reflects enormous depth, but I suppose native americans are just "stupid." People are often trained to think of unique dialects as being indicative of less “education,” but people are learning constantly even when they aren’t reading books or speaking in European accents. To reduce your estimation of a person’s intelligence based on accent alone is racist, whether your skin is black or white or anything else.

Many people attack the movie for portraying the black workers singing, as it makes them look happy. I don't know how to approach this, as the fact is that songs were a vital part of the work day back then, and still are today, regardless of how happy you are to be there. Maybe this is just my cultural understanding. People also inaccurately assume that the black characters are enslaved, simply because they're living on a plantation. The unfortunate truth is that after black people were freed from slavery, absolutely nothing was done to help them in any way, and so many chose to stay where they were if it was nice enough, which is the situation portrayed in the film. The unfairness of the dynamics between the characters due to their race or income is the center of the plot. The movie also features poor white characters, which is accurate to reality as, at risk of stating the obvious to some, many white people also suffer from colonization and most never owned plantations. (Yes, even in Georgia.) On my Scottish side I am descended from slaves sold to American colonizers by the English, who colonized Scotland first, for example. People of all colors and nationalities have taken advantage of colonialism and slavery for all of history, including native americans and Africans who sold their comrades to European conquistadors, Jewish people who owned slave ships, and so on. Even in some cases Asian people bought slaves for their plantations in the American south (this won't come as a surprise to anyone Asian, as slavery is still common in many countries and not limited to prisoners as in the U.S.) It's a complex situation that can't be simplified into "white people did this to black people," as convenient as that would be.

Walt Disney had this movie premiere in Atlanta specifically to make a statement. The theater was segregated, as I mentioned previously, and the black actors weren't allowed to see the screening. They also were forced to stay at a separate hotel. Walt announced the movie, and walked out, leaving a theater full of empty seats - black actors comprise the majority of the cast, and again are the only authentically southern characters.

I've shown this film to lots of native friends, "black" and "white," and many were perplexed as to how the film could be considered racist. I think the misunderstanding is largely due to divisive propaganda. To judge a work of art as intensely cooperative as a movie by the actions of one individual is a little reductive, but it's true Walt Disney was a flawed person. He had as recently as 1941 gone through a massive strike at his animation studio, as he was treating workers extremely unfairly, not to mention his unfortunate racial disability (being white.) And we won’t even get into his friend Leni Riefenstahl today. But just because he wasn't a devout communist, doesn't mean he wasn't also a daring and revolutionary artist. People’s actions aren’t any more black and white than their ethnicities. Snow White and the Seven Dwarfs was the very first feature-length cel animated film, released in 1937, less than ten years before Song of the South. Less than ten years previously, people didn't think a feature length animated film would be watchable, and if you watch some short films released before then, you'll see exactly why. Maybe he didn’t see ripping off his employees in California as being related to apartheid in the south, or maybe artists he respected and admired quitting their jobs made him open his eyes to discrimination more broadly. Perhaps the events of World War II were a factor in his decision making. It’s hard to know, but I’ll never stop loving a movie that so beautifully portrays the characters I first learned about from my great grandmother.

[the-paradigm-web]

Lauren Bacall as "Irene Jansen"; in Delmer Daves' Film Noir thriller, 'Dark Passage' - (1947), adapted from the 1946 novel of the same title by David Goodis. This Warner Brothers picture also stars Humphrey Bogart as "Vincent Parry"; and features, in supporting roles, Agnes Moorehead as

"Madge Rapf"; and Bruce Bennett as "Bob", and was the third of four films that real-life couple Lauren Bacall and Humphrey Bogart made together.

[kunosoura]

Reading about the production of Song of the South and it’s kind of crazy Disney hired multiple people, first a seasoned Black entertainer (Clarence Muse) and after him a communist Jewish man and seasoned screenwriter (Maurice Rapf) to try and “balance” the white southerner perspective of the unqualified lead writer (Dalton Reymond) who kept making it racist, and later removed both from the production team because they kept clashing with Reymond over how racist he was making the film.

[beardedmrbean]

"Disney wasn't an antisemite"

Uh you sure you wanna die on that hill?

How about we ask the Jewish Press what they think

Actress Meryl Streep reignited a debate that has simmered below the surface in Hollywood for decades: Was Walt Disney anti-Semitic?

The occasion was the annual awards event of the National Board of Review, an organization of filmmakers, students, and movie scholars. Streep presented an award to Emma Thompson, for her role in the new movie “Saving Mr. Banks,” about the making of the 1964 Disney film “Mary Poppins.” Thompson co-stars as Poppins author P.L. Travers, alongside Tom Hanks as Walt Disney.

Streep took the opportunity to blast Disney as racist and misogynist who also “supported an anti-Semitic industry lobbying group.”

She did not actually call Disney an anti-Semite, but many people took it that way. The Hollywood Reporter declared that Streep accused Disney of being “sexist, racist and anti-Semitic.” Film professor David Hajdu said Disney was “a deeply flawed human being. A misogynist? You bet. An anti-Semite? That, too.” An unnamed “female Academy member” interviewed by the Reporter referred to him as “that old anti-Semite, himself, Mr. Disney.”

Hollywood historian Neal Gabler examined the anti-Semitism charge in his 2006 biography of Disney. “Of the Jews who worked [with Disney], it was hard to find any who thought Walt was an anti-Semite,” Gabler reported. “Joe Grant, who had been an artist, the head of the model department, and the storyman responsible for Dumbo… declared emphatically that Walt was not an anti-Semite. ‘Some of the most influential people at the studio were Jewish,’ Grant recalled, thinking no doubt of himself, production manager Harry Tytle, and Kay Kamen [head of Disney’s merchandising arm], who once quipped that Disney’s New York office had more Jews than the Book of Leviticus. Maurice Rapf concurred that Walt was not anti-Semitic; he was just a ‘very conservative guy.’ ”

On the other hand, one former Disney animator, David Swift, has claimed he heard Walt make an anti-Semitic remark, and another ex-staffer, David Hilberman, has alleged that one employee was fired because he was Jewish. (However, according to Gabler, Disney himself was rarely involved in firing anyone except the top brass). In addition, the original animated version of the “Three Little Pigs” portrayed the Big Bad Wolf as a stereotypically Jewish peddler, although after complaints, the segment was altered.

When it comes to explicit proof that Disney was anti-Semitic, the critics’ case weakens.

“There is zero hard evidence that Disney ever wrote or said anything anti-Semitic in private or public,” according to Douglas Brode, author of Multiculturalism and the Mouse: Race and Sex in Disney Entertainment. Brode told The Hollywood Reporter that Disney used more Jewish actors “than any other studio of Hollywood’s golden age, including those run by Jewish movie moguls.”

Gabler also revealed that Disney “frequently” made unpublicized donations to a variety of Jewish charities, including a Jewish orphanage, a Jewish old age home, Yeshiva College (precursor to Yeshiva University), and the American League for a Free Palestine. The League, better known as the Bergson Group, publicly supported the armed revolt against the British in Palestine by Menachem Begin’s Irgun Zvai Leumi. Disney was embracing not just Zionism, but its most militant wing.

How, then, did the rumors of Disney’s alleged anti-Semitism spread so far and wide?

That’s where Meryl Streep comes in. The “anti-Semitic industry lobbying group” with which Disney was associated was the Motion Picture Alliance for the Preservation of American Ideals. The group’s statement of principles said nothing about Jews; its declared purpose was to prevent “Communist, Fascist, and other totalitarian-minded groups” from gaining a foothold in Hollywood. Among its members were politically conservative actors such as John Wayne, Clark Gable, and Ginger Rogers. But some of its other members were accused of being privately anti-Semitic, and in general it had a reputation as being reactionary.

Gabler believes that “the most plausible explanation” for the rumors about Disney were a kind of guilt by association: “Walt, in joining forces with the MPA and its band of professional reactionaries and red-baiters, also got tarred with their anti-Semitism. Walt Disney certainly was aware of the MPA’s purported anti-Semitism, but he chose to ignore it…. The price he paid was that he would always be lumped not only with anti-Communists but also with anti-Semites.”

The irony is that while Meryl Streep was condemning Walt Disney for associating with extremists, she herself was doing the very same thing. The actress to whom she gave that award when she made her anti-Disney speech, her close friend Emma Thompson, is active in the anti-Israel boycott movement.

Streep hailed Thompson as “splendid, beautiful, practically a saint…a living, acting conscience.” Yet this “saint,” together with other British actors, publicly urged a boycott of Israel’s Habimah theater troupe when it participated in a festival in England. Habimah, of course, has nothing to do with Israeli government policies or any political issues. Its only “crime” is that it’s Israeli.

By contrast, Thompson had no problem with the National Theater of China taking part in that festival, even though it really does represent the Chinese regime – a regime guilty of the most heinous human rights violations, aid to terrorists around the world, and support for the genocidal government of Sudan. But of course, hypocrisy is the hallmark of the “saints” of the anti-Israel boycott crusade. ______________________

The Antisemitism claim is literally communist propaganda.

[l-ii-zz]

Prologue 1 | Prologue 2

PT 1 | PT 2 | PT 3 | PT 4 (Fin)

More pages under the cut 👇👇👇

Alright let me explain: THIS is actually the 2nd part of that comic I made last year, but I couldn't finish it since I wanted to post all pages for Christmas and I was already out of time. But since I liked these I decided to finish them for this year, I don't have anything to post for this Christmas but at least I can share these missing pages! I adore drawing prazf so very much.

[lightningchu-the-mega-raichu]

More Tallest doodles bc I love themmm

(These range from late 2022 to late 2023)

REBLOGS > LIKES

[vintage-every-day]

𝑻𝒉𝒆 𝑯𝒐𝒍𝒍𝒚𝒘𝒐𝒐𝒅 𝑹𝒆𝒗𝒖𝒆 𝒐𝒇 1929, or simply 𝑻𝒉𝒆 𝑯𝒐𝒍𝒍𝒚𝒘𝒐𝒐𝒅 𝑹𝒆𝒗𝒖𝒆 is a 1929 American pre-Code musical comedy film released by Metro-Goldwyn-Mayer.

It was the studio's second feature-length musical, and one of their earliest sound films. Produced by Harry Rapf and Irving Thalberg and directed by Charles Reisner, it features nearly all of MGM's stars in a two-hour revue that includes three segments in Technicolor. The masters of ceremonies are Conrad Nagel and Jack Benny.

[koolaidashley]

rapf cuz i never drew raph for u

YESSSS COLLECTING TOMI DOODLES LIKE TREASURE

[meiyasuda]

♡ Doki Doki Forever rottmnt cover

I was just scrolling through my Pinterest feed when I came across this art, and the idea appeared by itself, considering that they are somewhat similar to the DDLK characters. (Probably here they are not brothers, because Rapf would never harm his brothers)

[kwebtv]

Season 1 Episode 16

Two Faces West - The Prisoner - Syndication - February 6, 1961

Western

Running Time: 30 minutes

Written by Kevin David

Produced by Matthew Rapf 

Directed by Harmon Jones

Stars:

Charles Bateman as both Dr Rick January and Marshal Ben January

Chris Alcaide as Corey Willis

David Manley as Piper

Dick Rich as Sheriff Russ Kane

Val Benedict as Delaplane

[thinechromatic]

Adopted a new OC! I made a few adjustments, but this one's designed by rapf on toyhouse!