#a.j. foster

[ang-900]

A Basic Summary of the GoBots Characters

Nick Burns

Scooter's sidekick

Matt Hunter

Basic

Attractive Hollywood lead

A.J. Foster

Squid hair

The best human character

Last Engineer

Ugly outfit, but he's a good guy

Grandpa energy

Master Renegade

Ugly

Created original renegade movement

So much of a loser none of the renegades like this guy

Thought he could pull a fast one, but ultimately fails as he should

Path Finder

A girl

Slenderman face

Sparky

The useful one

Has a head even more q-tip shaped than Leader-1

Neck and head attachment create weird optical illusion

Smallfoot

Looks like Scooter's girlfriend

Lenny face

Fitor

If Starscream were actually loyal to Megatron

The favourite

Scooter

Friend-shaped

Feels like he wants to be what Bumblebee is to Optimus

Is like Penny from Inspector Gadget to the Gobots. Cy-Kill has yet to realize Scooter's the problem

Has a savage side that comes out of nowhere

Weirdly biased against humans

Cop-Tur

Is the third wheel

Dumbass

Gets told to shut his trap every time he tries to make a good point

Turbo

Talks like Ironhide

Says "wawww~" at the beginning of nearly every sentence

Crasher

Iconic laugh

Unapologetically evil

Is Cy-Kill's favourite when Fitor's not there

"Holy shit she's ugly as hell!" -My dad, 2023

Leader-1

Should partake in the next bald guy tournament

Lost his half of a BFF charm

Cy-Kill

Is a magical girl

He still keeps his half of a BFF charm with Leader-1

Is evil because he's a beta male (no, I'm not kidding)

[nerds-yearbook]

First episode of Challenge of the Gobots aired on October 29, 1984. Renegade Gobots escape to Earth with an experimental weapon with the good Gobots following in pursuit. ("Battle for Gobotron", Challenge of the Gobots, TV, Event)

[gurumog]

Challenge of the Gobots (1984-1985) Episode 24 - Ultra Zod Hanna-Barbera Productions

[lgbtqforeverything]

linh and tam and sophie

[amorhedera6]

i have so many thoughts about paulkins kids. there are many options, and lucky for us, we know that paulkins exist in every universe.

in one, when paul and emma aren’t yet dating but are “intimate” emma misses her period. she goes to a doctor and gets confirmation. she panics because she and paul aren’t serious yet, but she realizes how happy the idea of having a family with him makes her. they have a daughter, addison jane perkins-matthews, that everyone calls a.j. she has emma’s hair and paul’s blue eyes, and she loves to swim.

in another universe, they don’t have a kid until they’ve been married for a few years. it took them a while to get there, with emma wanting to take things slowly and paul waiting for her no matter what, but he takes her name and they become the perkins’. when they have their son, they name him matthew after paul’s family. he’s got paul’s lighter brown hair and his blue eyes, but he still manages to look more like emma. he was made for the kitchen, and loves loves loves cooking and baking.

there’s another universe where emma and paul have twins girls, elizabeth and olivia. the two could not be more polar opposites, with lizzie being less feminine, loving soccer and sports, and livvy being so extremely femining, wanting to be a fashion designer, but they are always there for each other. the two love each other and always manage to support each other’s passions.

in another universe, they have a family of five, brianna, christopher, and freddie. bri is an artist, always painting and drawing. christopher loves to dance, and to paul’s horror joins theatre in high school. paul learns to love performances when it’s his son, seeing the joy and determination in his face. freddie loves to read, will devour a book so quickly it’s actually a little frightening. paul and emma watch their kids fight across the dining table and smile fondly.

sometimes, they don’t have kids at all. emma’s commitment issues making her hesitate, or her issues with her own parents (which i am headcannoning). maybe paul, who only ever says “kids, someday, maybe” decides he only ever felt pressured into wanting kids. sometimes only one doesn’t want kids, sometimes both, but either way they always respect it.

sometimes they take too long. paul pines for years, emma doesn’t want to label it, and by the time they’re ready, they’re told emma can’t have kids.

there’s a universe where they keep a foster home, their house a revolving door for kids who need a place to stay. they look out for each and every one of them, giving them a place to feel safe and good people to look up to.

there’s a universe where they adopt a pair of siblings who lost their parents too young, the older maddison always having to look out for her little brother michael. maddie never had time to have a hobby, or a passion, but in their safe space she can admit to herself that she wants to be a filmmaker. mike adores his older sister, and loves to play the guitar.

in one universe, they adopt a toddler who was mistreated by his guardians. harry took a while to warm up to them because of this, but they helped him adjust and recuperate and grow from it all. he grew up to be a botanist, loving learning about biology from his figurative grandpa hidgens.

basically, i just want and need happy ending paulkins who have a happy domestic little life and shit.

[sapphicreadsdb]

Hi do you by chance have any sapphic fantasy recs? preferably adult fantasy but YA is fine too

sure! tho this could will get quite long... no links, sorry!, bc it was kicking up a fuss with those for some reason

+ = ya

pennyblade by j.l. worrad

lady hotspur by tessa gratton

sofi and the bone song by adrienne tooley (+)

she who became the sun by shelley parker chan

the scapegracers by h.a. clarke (+)

the third daughter by adrienne tooley (+)

the daughters of izdihar by hadeer elsbai

the malevolent seven by sebastien de castell

blackheart knights by laure eve

the warden by daniel m. ford

the unbroken by c.l. clark

dark earth by rebecca stott

witch king by martha wells

scorpica by g.r. macallister

the mirror empire by kameron hurley

now she is witch by kirsty logan

silverglass by j.f. rivkin

the woman who loved the moon and other stories by elizabeth a. lynn

...(this answer is how i discover there's a character limit per block so. doing this in chunks.)

fire logic by laurie j. marks

a restless truth by freya marske

when angels left the old country by sacha lamb (+)

the traitor baru cormorant by seth dickinson

an archive of brightness by kelsey socha

the bladed faith by david dalglish

the winged histories by sofia samatar

dragonoak by sam farren

the forever sea by joshua phillip johnson

into the broken lands by tanya huff

the jasmine throne by tasha suri

daughter of redwinter by ed mcdonald

the last magician by lisa maxwell (+)

the fire opal mechanism by fran wilde

...

the black coast by mike brooks

high times in the low parliament by kelly robson

foundryside by robert jackson bennett

the enterprise of death by jesse bullington

mamo by sas milledge (+)

from dust, a flame by rebecca podos (+)

uncommon charm by emily bergslien & kat weaver

wild and wicked things by francesca may

the unspoken name by a.k. larkwood

brother red by adrian selby

the final strife by saara el-arifi

way of the argosi by sebastien de castell (+)

the bone shard daughter by andrea stewart

ghost wood song by erica waters (+)

into the crooked place by alexandra christo (+)

ashes of the sun by django wexler

the midnight girls by alicia jasinska (+)

the midnight lie by marie rutkoski (+)

the never tilting world by rin chupeco (+)

water horse by melissa scott

...

a master of djinn by p. djeli clark

the good luck girls by charlotte nicole davis (+)

among thieves by m.j. kuhn

black water sister by zen cho

the velocity of revolution by marshall ryan maresca

sweet & bitter magic by adrienne tooley (+)

the dark tide by alicia jasinska (+)

the library of the unwritten by a.j. hackwith

a dark and hollow star by ashley shuttleworth (+)

the chosen and the beautiful by nghi vo

the councillor by e.j. beaton

these feathered flames by alexandra overy (+)

the factory witches of lowell by c.s. malerich

fireheart tiger by aliette de bodard

...

city of lies by sam hawke

bestiary by k-ming chang

the raven and the reindeer by t. kingfisher

the winter duke by claire eliza bartlett (+)

master of poisons by andrea hairston

the empress of salt and fortune by nghi vo

night flowers shirking from the light of the sun by li xing

down comes the night by allison saft (+)

wench by maxine kaplan (+)

girls made of snow and glass by melissa bashardoust (+)

girls of paper and fire by natasha ngan (+)

the impossible contract by k.a. doore

burning roses by s.l. huang

the house of shattered wings by aliette de bodard

not for use in navigation by iona datt sharma

weak heart by ban gilmartin

girl, serpent, thorn by melissa bashardoust (+)

the devil's blade by mark alder

...

we set the dark on fire by tehlor kay mejia (+)

the true queen by zen cho

moontangled by stephanie burgis

a portable shelter by kirsty logan

sing the four quarters by tanya huff

all the bad apples by moira fowley doyle (+)

the drowning eyes by emily foster

the priory of the orange tree by samantha shannon

miranda in milan by katharine duckett

the afterward by e.k. johnston (+)

thorn by anna burke

penhallow amid passing things by iona datt sharma

in the vanishers' palace by aliette de bodard

summer of salt by katrina leno (+)

the gracekeepers by kirsty logan

out of the blue by sophie cameron (+)

black wolves by kate elliott

the circle by sara b. elfgren & mats strandberg (+)

unspoken by sarah rees brennan (+)

thistlefoot by gennarose nethercott

passing strange by ellen klages

(and breathe)

[weclassybouquetfun]

More context will come 9:30am(EST) on New Heights with Travis and Jason Kelce (on Youtube, Wondery+, Apple Music, Spotify, etc.), but it's official from Jason Sudeikis' lips. S4 is real, he's writing and yes, Ted is coaching a women's team.

Got jokes still, I see.

A quick rundown on what AFC Richmond is doing.

-Stephen Manas did the most Richard Montlaur thing and wrote a book!

Scoot Your Boot to Read More Under the Cut.

Some love from Cristo Fernandez's sister Paloma, Charlie Hiscock, TED LASSO editor A.J. Catoline and Mary Roscoe. Mary, I know you really mean, "How did you find the time when you're always running the streets?!"

-Toheeb Jimoh joins the cast of INDUSTRY for its fourth series.

-I didn't know the play Charlie Hiscock is in - "Glorious" - is FLORENCE FOSTER JENKINS!

-The strong and capable Billy Harris was at Paris Fashion week and sporting longer hair.

-Adam Colborne can be seen in MICKEY 17 in a small role.

-Hannah Waddingham is steadily adding to her voice-over repertoire: She will be the voice of the Grand Councilwoman in the live-action LILO & STITCH; as well as having a voice role in the SMURFS film sometime this year.

-Forget awards, Brett Goldstein has really made it - he has dating rumours about he and his OFFICE ROMANCE costar Jennifer Lopez.

[tiny-tf-faces]

Hello again! Don't mind me, I'm just here to drop off yet another batch of tiny, crunchy, barely recognisable Gobots

In order of appearance, we have: Scooter, Tri-Trak, Twister, Tork, Staks, Traitor, Re-Volt, Chaos, Turbo, Leader-1, Heat Seeker, Cop-Tur, Crasher, and Cy-Kill

(Technically Nick Burns and A.J. Foster are in the 5th pic, but they're wearing suits they don't usually wear so I didn't count them)

Thank you for this large shipment! It's good to have someone covering the more niche face sources!

[s10127470]

@rynewartworks

So for Nicktoons Re-Unite!, I wanna start the series off with a pilot movie, similar to what Samurai Jack and Foster's Home for Imaginary Friends did.

You know, for the readers get a good feel for the characters and their dynamics.

And that movie will be called The Curse of El Pirata del Río!

The movie will see The Nicktoons and their pals heading to The Caribbean in Arnold's world to visit Miles and Stella's old friend Eduardo, who's receiving special award in his honor after discovering ruins of The Green-Eye People throughout the islands.

But unfortunately, this reunion goes south when the gang find themselves attacked and captured by a crew of undead pirates, led by Lasombra (returning from Hey Arnold: The Jungle Movie).

In the time since his death, he's gone from a pirate of the river to a pirate of the seas.

And if you couldn't tell already.....he's also undead.

And ever since forming his crew, he's been terrorizing the seas, pillaging and plundering to his heart's content.

However, there are a couple of members who aren't undead.

Two of those being Coco LaBouche (returning from Rugrats in Paris) and Eric Golem Jr. (from Rocket Power: Beach Bandits), who have joined the crew at some point.

The reason for capturing the gang is because Eduardo holds a piece of an ancient map that leads to mysterious legendary artifact known as El Pulpo, which is said to hold untold phenomenal powers.

So now, The Nicktoons are on a high seas adventure across The Caribbean to find and gather the other pieces of the map before Lasombra and his crew does.

As for the voice cast, you can expect to see a good chunk of the character's original VAs coming back!

We've got.....

-Debi Derryberry as Jimmy Neutron

-Tom Kenny as SpongeBob SquarePants and Gary

-Janice Kawaye as XJ9/Jenny Wakeman

-Alanna Ubach as El Tigre/Manny Rivera

-Jason Marsden as Tak and Chester McBadBat

-E.G. Daily as Tommy Pickles

-Zane VanWicklyn as Arnold Shortman

-Richard Horvitz as Invader Zim

-Frank Welker as Goddard

-Rob Paulsen as Carl Wheezer

-Jeffery Garcia as Sheen Estevez

-Carolyn Lawrence as Cindy Vortex and Sandy Cheeks

-Candi Milo as Nick Dean

-Crystal Scales as Libby Folfax

-Bill Fagerbakke as Patrick Star

-Rodger Bumpass as Squidward Tentacles

-Clancy Brown as Mr. Krabs

-Daran Norris as Cosmo

-Susanne Blakeslee as Wanda

-Gary LeRoi Gray as A.J.

-Grey Griffin as Tootie, Sam Manson and Frida Suárez

-Dionne Quan as Trixie Tang and Kimi Finister

-Colleen O'Shaughnessy as Jazz Fenton

-Cree Summer as Valerie Gray and Susie Carmichael

-Chad Doreck as Brad

-Audrey Wasilewski as Tuck

-Quinton Flynn as Sheldon

-Mae Whitman as Katara

-Jack DeSena as Sokka

-Jessie Flower as Toph Beifong

-Dante Basco as Zuko

-Jennie Kwan as Suki

-Dee Bradley Baker as Appa and Momo

-Carlos Alazraqui as Puma Loco, Señor Chappi and Eduardo

-Patrick Warburton as Lok

-Kari Wahlgren as Jeera

-John DiMaggio as Keeko

-Nancy Cartwright as Chuckie Finister

-Kath Soucie as Phil and Lil DeVille

-Cheryl Chase as Angelica Pickles

-Benjamin Christopher Flores Jr. as Gerald Johanssen

-Francesca Marie Smith as Helga G. Pataki

-Michael Bacall as Torvald

-Anndi McAfee as Phoebe Heyerdahl

-Justin Shenkarow as Harold Berman

-Jet Jurgensmeyer as Stinky

-Aiden Lewandowski as Sid

-Dan Castellaneta as Grandpa Phil Shortman

-Tress MacNeille as Grandma Gertie Shortman

-Craig Bartlett as Miles Shortman

-Antoinette Stella as Stella Shortman

-Rosearik Rikki Simons as GIR

-Alfred Molina as Lasombra

-Susan Sarandon as Coco LaBouche

-Mona Marshall as Eric Golem Jr.

As for the new voices, we've got....

-Kate Higgins as Timmy Turner and Poof

-Ben Diskin as Danny Fenton/Phantom

-Zeno Robinson as Tucker Foley

-Fred Tatasciore as Cujo

-Joshua Rush as Avatar Aang

-Asher Angel as Otto Rocket

-Abby Trott as Reggie Rocket

-Michael Cimino as Twister Rodriguez

-A.J. Beckles as Sam Dullard

And among the previous mentioned returning voices....

Jason Marsden is now voicing Dash Baxter, Grey Griffin as now voicing Dil Pickles, Dee Bradley Baker is now voicing Abner, Alanna Ubach is now voicing Paulina Sanchez, and Kari Wahlgren is now voicing Dani Fenton/Phantom.

Well that's all for now!

Let me you what you guys think about this upcoming pilot movie fanfic and what you hope to see from it.

Also, if you're wondering when it's gonna come out, it'll be something in June or July.

[mkenvs3000f24]

Unit 4 - Blog Post

Interpreting nature via art might be intimidating, especially if you don't consider yourself an artist, but it is a liberating process that links us profoundly to the world around us. Nature, with its infinite complexity and beauty, is an unending source of inspiration. So, who am I to represent nature via art? I am just someone who has a personal connection to the natural world and wishes to express that connection via a medium that is available to all: art.

Art enables us to share our encounters with the environment in ways that go beyond the constraints of words. Art, whether in the form of painting, photography, sculpture, or simply textual descriptions, acts as a link between our interior experiences and the outside world. Chapter 5 of the course texts focuses on the emotional and intellectual resonance that art may elicit when understanding nature. It emphasizes how art helps us frame our surroundings in ways that words alone may not fully represent. Art, like nature, does not need to be explained in order to be understood; it simply must be experienced.

Pictured is McMichael art gallery in Kleinberg ON, specifically showcasing the big windows in every room showcasing the beautiful forest scenery.

Growing up I used to always visit McMichaels Art gallery in Kleinburg, ON where I would recurrently look at paintings created by the Group of Seven whilst reflecting on the surrounding nature peering in from windows of the art gallery. This fostered a genuine connection between art and nature for me as both of these things are such prevalent loves of mine growing up, and to this day. The documentary discusses the Group of Seven as an example of how nature's beauty can influence national identity and elicit strong emotional reactions. These artists utilized their paintings to reflect Canadian landscapes in a way that influenced how many people perceived the nation. However, as spectators, we are also expected to analyze these sights, asking ourselves questions such as, "What does this landscape represent?" and "How does it make me feel?" The lack of people in many of their works emphasizes the natural world's loneliness, tenacity, and, at times, overpowering immensity. This interpretation reminds me that nature isn't necessarily about human contact; it may survive independently in its untamed form.

Pictured above is my favourite Group of Seven painting, titled North Shore 1929, oil on canvas, by A.J. Casson of the Group of Seven, which I regularly viewed at the McMicheals art gallery.

When examining "the gift of beauty" in nature, I define it as the natural quality that produces sentiments of awe, tranquility, or amazement. Beauty in nature is sometimes witnessed in brief moments, such as the calm of a dawn, the first snowfall, or the delicate blossoming of a flower. These moments are blessings because they remind us of nature's simplicity and majesty. Art enables us to record and preserve these moments, increasing their impact by allowing us to share them with others.

Beauty has a strong emotional resonance because it strikes something deep within us that is often difficult to describe. As I explore nature, I frequently feel compelled to chronicle my experiences—not just for memories' sake, but also to share the emotional effect with others. Whether through a photograph, a quick drawing, or simply musing on the moment, interpreting beauty in nature helps to cement my connection to the environment. Art therefore becomes a means of sharing the gift of beauty with others, inspiring them to discover their own connection to the natural world.

As I continue to investigate my position as an interpreter of nature via art, I learn that I am not required to be a professional artist or an expert in visual mediums. What is important is the aim behind the interpretation to express my encounters with nature in a meaningful way. We may build shared experiences via art by allowing people to perceive nature through our eyes and, as a result, enjoy the beauty around us.

[sbobcat]

Open letter to the Philadelphia Eagles organization & Players

March 29th 2025

Dear Philadelphia Eagles Organization,

I write to you not only as a devoted fan of the Philadelphia Eagles but as someone who deeply admires the values that this franchise upholds. From the community work of Malcolm Jenkins, Jalen Hurts, A.J. Brown, Chris Long, and many others, to the tireless efforts of Eagles players in supporting Philadelphia’s most vulnerable populations, this team has represented the city with honor, compassion, and justice. That is precisely why I urge you to decline any invitation to the White House following your Super Bowl Championship victory.

To attend would be to normalize the dangerous and destructive policies of the current Trump administration—an administration that has actively worked against the very people who make up the Eagles' fanbase. Philadelphia is a city built by immigrants, yet this administration has relentlessly targeted not only undocumented individuals but also legal immigrants who have followed every law and requirement in pursuit of the American dream. The city of Philadelphia, home of the Liberty Bell and a birthplace of American democracy, stands in direct contrast to an administration that fosters division, xenophobia, and an outright assault on immigrant communities.

Your players have donated to schools, worked with at-risk youth, and advocated for criminal justice reform. To shake the hand of a president who has denigrated these same causes, who has attacked freedom of speech by demonizing athletes for their protests, and who has used his power to undermine democracy itself, would be a betrayal of all that this team stands for.

The Philadelphia Eagles have an opportunity to send a message—not just to the league, but to the nation. You can choose to stand with the people of Philadelphia, the underrepresented, the hardworking, and the oppressed. Or you can choose to lend legitimacy to an administration that actively works against them.

Please, stay true to the legacy of this city and the values this team represents. Decline the White House invitation. Continue to be a beacon of integrity and hope for the people of Philadelphia and beyond.

Sincerely,

A Fan.

[whileiamdying]

A Lesser-Known Modernism Inspired by African-American Culture

The Whitney Museum of American Art is presenting the career retrospective “Archibald Motley: Jazz Age Modernist,” which includes “Black Belt” (1934).Credit... Hampton University Museum, Hampton, Virginia, Valerie Gerrard Browne

By Holland Cotter Oct. 1, 2015

I don’t know how museums plot their seasons, but it was a good plan to have “Archibald Motley: Jazz Age Modernist” be the first career retrospective to appear at the Whitney Museum of American Art’s new home. Motley is an important but still understudied figure. The show itself is neither large nor hot off-the-shelf. (It originated at the Nasher Museum of Art at Duke University and has been traveling; this is the last stop.) But it has features that many bigger, sexier exhibitions lack: an affecting narrative, a distinctive atmosphere and a complicated political and moral tenor. It’s a tight, rich package. You take it away with you, complete.

And part of what you take away is an alternative version of the American modernism on which the Whitney is based. This other modernism developed outside of New York. It didn’t adopt abstraction as its defining advance style. It absorbed what was happening in Europe, but found its main power source in American culture, and specifically African-American culture. Archibald J. Motley Jr. — he used his full name professionally — was a primary player in this other tradition.

He was born in New Orleans in 1891 and three years later moved with his family to Chicago, which would become his permanent home. His African-born paternal grandmother, a former slave, came with them. There his father, a child of slaves, found work as a Pullman porter. His mother, of mixed racial descent, ran the house. When Motley’s teenage sister, Flossie, had a child, Willard, out of wedlock, the family raised him to believe that his mother and his uncle were his older siblings.

“Portrait of My Grandmother” (1922). Credit... Collection of Mara Motley, MD, and Valerie Gerrard Browne

“Portrait of Mrs. A.J. Motley, Jr.,” from 1930. Credit... Collection of Mara Motley, MD, and Valerie Gerrard Browne

Altogether, it was a household in which traditionally fixed categories of race and lineage were somewhat fluid. So was its relationship to class. The Motleys lived outside the so-called Black Belt of Chicago, the strictly demarcated African-American area also referred to as Bronzeville, on the city’s South Side. Their home was in a largely white immigrant neighborhood. Motley was one of the few black students at the School of the Art Institute of Chicago, where he received classical, European-based training as a painter. He married a white woman, Edith Granzo, his high school sweetheart.

Calibration of racial and social status by color is an underlying theme in the early portraits that open the exhibition, organized by Richard J. Powell, an art historian at Duke, and Carter E. Foster of the Whitney. Motley believed that information about the biology of race was important for both whites and blacks to have in the interest of mutual understanding.

“Nude (Portrait of My Wife)" (1930). Credit... Collection of Mara Motley, MD, and Valerie Gerrard Browne

“Brown Girl After the Bath” (1931). Credit... Emon Hassan for The New York Times

In a 1924 picture, a dark-skinned older women dressed in a gingham dress and head scarf is identified as “Mammy.” A painting done a year later of a lighter-skinned young woman in a chic flapper cap is titled “The Octoroon Girl,” using a term once applied to someone with one-eighth black ancestry. In a 1930 nude portrait, Motley’s wife stands erect, arms down, face forward, glowing gold, as if posed for an epidermal inspection. A year later, in a more relaxed painting called “Brown Girl After Bath,” the glow remains, but gold has been exchanged for copper.

These images surround Motley’s own 1933 “Self-Portrait (Myself at Work),” which, ethnically speaking, gives little away. Dressed in a smock and beret, the artist, who by then had spent a year in Paris, looks neither distinctly black nor white, just seriously Continental. A neo-Classical statuette stands on his worktable. A crucifix hangs on the wall. (Motley was a practicing Roman Catholic.) He holds a big palette in one hand and conjures a nude model, Pygmalion-style, with his brush. He was at this point already nearing the peak of his professional success. The historian and activist W. E. B. Du Bois had publicly called him “a credit to the race,” though there is little of an obvious race man in the image here.

“Self-Portrait (Myself at Work)" (1933). Credit... Collection of Mara Motley, MD, and Valerie Gerrard Browne

This doesn’t mean that he kept himself at a remove from black popular culture. His deep but controlled immersion in it — wading in, stepping back — is what the exhibition as a whole is about. From an early age he had been a regular visitor to the Black Belt entertainment strip of jazz clubs, theaters, cafes and gambling joints known as the Stroll. And a section of the exhibition called “Nights in Bronzeville” is a record, in paintings, of his time spent there. If his portraits are an effort to capture and codify variations in racial appearance, his Bronzeville scenes, and their Paris equivalents, which he produced from the late 1920s onward, are attempts to find visual correlatives for the sounds of black music and colloquial black speech.

“Saturday Night,” from 1935, is a club scene. It takes what Motley learned about figure painting, color and composition, pushes that through an Expressionist filter, and sets it to a sinuous, thumping jazz score. The room is soaked in vermilion light. The band is far in the background, but its rhythms pulse through in the body of a single dancer who sways between the tables.

“Saturday Night” (1935).Credit...Howard University Gallery of Art, Washington, DC. Valerie Gerrard Browne

“Carnival” (1937).Credit...Howard University Gallery of Art, Washington, DC. Valerie Gerrard Browne

The same energy fills the night in “Carnival” from 1937, only now the music comes, outdoors, from an accordion-playing minstrel-show figure regaling a crowd of fairgoers. The smartly dressed visitors chat and preen. Stars shine overhead. A fat man in a straw skimmer, looking oddly isolated, moves through the center of the scene.

That man, or his equivalent, shows up in many of Motley’s city pictures. He’s an outrageous racial caricature: round-faced, popeyed, thick-lipped, a cartoon. Mr. Powell, in the catalog, pegs him as Motley’s alter ego, his way of acknowledging a feeling of distance from blackness but also an investment so thorough as to allow him to play with it, mess with it from the inside, as well as from the outside, pre-emptively expressing the racist hostility that is an unabating condition of American life. It’s a tactic used by writers like Zora Neale Hurston in Motley’s time, and in our own by comedians like Richard Pryor and artists like Robert Colescott and Kara Walker.

Motley continued to explore this risky mode of depicting social realities for the rest of his career which, gradually, went into decline. After his wife’s death in 1948, he made extended trips to Mexico, where his nephew Willard, a successful novelist, lived. Back in Chicago, to support his mother, who had remarried after his father’s death, he took a job with a company designing shower curtains. In 1955, he was jailed for six months for assaulting her abusive husband. In 1963, in his 70s, he began his last painting.

“The First One Hundred Years,” finished in 1972, was Archibald Motley’s final painting, and with its sweepingly topical content, it’s like no other picture he ever made. Credit... Collection of Mara Motley, MD, and Valerie Gerrard Browne

With its epic-length title — “The First One Hundred Years: He Amongst You Who Is Without Sin Shall Cast the First Stone; Forgive Them Father for They Know Not What They Do” — and sweepingly topical content, it’s like no other picture he ever made. Set in a twilight blue space, it has the mood of a composite-style nightmare to which new elements were added over time: an African mask paired with a human skull; a devil’s head and a peace dove; a Ku Klux Klan figure and the Statue of Liberty, and a “coloreds only” sign; a lynching and a crucifixion. And dead center is a man’s head in the format of a bust-length portrait, with the face blacked out.

This painting, hung on a wall by itself, ends the show, just as Motley’s confident 1933 studio self-portrait began it. When he finished “The First One Hundred Years” in 1972, he put his brushes down and painted nothing more in the remaining nine years of his life. His work ends in profound political anger and in unambiguous identification with African-American history. I would say that, behind his gracious portraits and his later, radical, jazz-scored scenes of black urban life, those feelings were in some measure ever-present. They help explain his art’s unforgettably puzzling texture and its surprising weight.

“Archibald Motley: Jazz Age Modernist” runs through Jan. 17 at the Whitney Museum of American Art; 212-570-3600, whitney­.org.

[gurumog]

Challenge of the Gobots (1984-1985) Episode 24 - Ultra Zod Hanna-Barbera Productions

[lgbtqforeverything]

[thegardenandthegrave]

Nevermind about your characters' favorite coffee order or hobbies, here's what I want to know:

In what circumstances would they hit someone?

I'm talking full on decking another character in the face. I'll go first!

Madison Cortez - while she has adjusted to wealth, Maddi is at her heart a scrappy foster kid. She's more likely to scrape and claw to get away from an attacker. But if someone is disrespectful or vulgar to her loved ones - especially her adoptive mother - she will go for a right hook.

Nico Cortez - equally scrappy as Maddi, Nico would deck anyone that physically threatened his girls. His mother, sister, any future daughters or nieces, ect.

Katerina Dante - Kat would use a punch to make a point. Raised with poise and control, Kat isn't about to punch someone out of emotion, but if she thought it would drive the point home she wouldn't be adverse to getting her hands dirty. And I think she would really find satisfaction in doing so.

Xavier LaGuerre - The muscle of the crew, Xavier would hit just about anyone if it meant rescuing a team member or creating an escape route.

Dashel Balasco - as a homicide detective and the token Golden Boy of the crew, Dash would never strike first. But, if a criminal takes a swing you can bet Dash will hit back twice as hard and then switch to restraining his attacker.

Fisher Balasco - Fisher is more likely to head butt or knee someone if he's being vindictive, but would land a hard punch if you snuck up on him/startled him. He would also flat out deck his father if they ever came into contact.

A.J. Jimenez - Has gotten into several knock down drag out fights with people who disrespect the ocean's ecosystems, and one memorable surfing competitor who stole her wave. Given the chance she would line up every billionaire ruining the planet and go down the row giving them each a black eye and a deep sense of guilt. But since her father is the attorney general of Florida she would attempt to keep her fists and her opinions to herself if the opportunity ever arose.

Skylar LaGuerre - The wild card of the crew, Skylar is equally likely to punch someone she likes as a greeting as she is to kiss an enemy to throw them off balance.

[brookstonalmanac]

Birthdays 7.19

Beer Birthdays

Adrian Tierney-Jones

Five Favorite Birthdays

Benedict Cumberbatch; English actor (1976)

Edgar Degas; French artist (1834)

Anthony Edwards; actor (1962)

Max Fleischer; animator (1883)

Brian May; rock guitarist (1947)

Famous Birthdays

Yael Abecassis; Israeli model and actress (1967)

Muhammad al-Bukhari; Persian scholar (810)

Marianna Auenbrugger; Austrian composer (1759)

Paule Baillargeon; Canadian actress and director (1945)

Theo Barker; English historian (1923)

Buster Benton; singer-songwriter and guitarist (1932)

Heinrich Christian Boie; German author and poet (1744)

Lizzie Borden; accused murderer (1860)

Vicki Carr; singer (1941)

Allen Collins; guitarist and songwriter (1952)

Samuel Colt; inventor (1814)

Mark Crispin; computer scientist (1956)

A.J. Cronin; writer (1896)

Friedrich Dessauer; German physicist and philosopher (1881)

Atom Egoyan; Egyptian-Canadian director (1960)

Michael Fekete; Hungarian-Israeli mathematician (1886)

Thomas Gabriel Fischer; Swiss musician (1963)

André Forcier; Canadian director and screenwriter (1947)

Helen Gallagher; actress, singer, and dancer (1926)

Keith Godchaux; rock keyboardist (1948)

Alan Gorrie; Scottish singer-songwriter (1946)

Kevin Haskins; English drummer and songwriter (1960)

Joseph Hansen; author and poet (1923)

Samuel John Hazo; author (1928)

Pat Hingle; actor (1924)

Florence Foster Jenkins; soprano (1868)

Richard Jordan; actor (1938)

Gottfried Keller; Swiss author and poet (1819)

Aleksandr Khinchin; Russian mathematician (1894)

Lisa Lampanelli; comedian (1961)

Bernie Leadon; guitarist and songwriter (1947)

Robert Mann; violinist, composer, and conductor (1920)

John Martin; English artist (1789)

Charles Horace Mayo; surgeon, clinic founder (1865)

George McGovern; politician (1922)

Tim McIntire; actor and singer (1944)

Freddy Moore; singer-songwriter and guitarist (1950)

Ilie Nastase; tennis player (1946)

Alice Dunbar Nelson; African-American poet (1875)

Garth Nix; Australian writer (1963)

Jim Norton; comedian (1968)

Mark O'Donnell; playwright (1954)

Steve O'Donnell; screenwriter and producer (1954)

Jayne Anne Phillips; writer (1952)

Edward Charles Pickering; astronomer and physicist (1846)

Martin Powell; English keyboard player and songwriter (1973)

Arthur Rankin Jr.; animation director, producer (1924)

Tom Raworth; English poet (1938)

Miltos Sachtouris; Greek poet (1919)

Campbell Scott; actor (1961)

Elizabeth Spencer; writer (1921)

Percy Le Baron Spencer; microwave inventor (1894)

Sue Thompson; singer (1925)

Rosalyn Sussman Yalow; physicist (1921)