everythingbutharleyquinn:

anotherhookerblog:

sexshooter:

femmesandfamily:

pompadoursandpincurls:

grrlyman:

fashionistazapatista:

Gnarls Barkley

Gnarls Barkley in a dress.

Gnarls motherfucking Barkley in a dress.

GNARLS MOTHERFUCKING BARKLEY IN A MOTHERFUCKING DRESS.

Hell yes.

THANK YOU

The only ‘famous’ men I see in drag on my dash are thin and white.  HE IS HOT AS FUCK.

that’s cee lo in the dress y’all but he can werk it

• this isn’t drag
• this is comical, it’s mocking women/femininity/CAMAB people dressing up in ‘womens’ clothing.
• this is not celebrating women or femininity or people who ‘shouldnt’ be wearing dresses doing so.
• is the queer community really so desperate and fucking blind that we think this is affirmation/acceptance?
• really you gotta flex your muscles and prove you’re hard bro?
• I’m so  suss of anyone who identifies as male wearing a dress at this point. This is to get publicity, not to make their fans less bigoted (and it’s not Cee-Lo’s job to do that anyway!)
• I love his music but you’re all fools if you think this is anything but mocking.

HERE WE GET TOLD. Thanks ahb. I’m sads.

I need to see some receipts on this being Cee-lo mocking anyone.

So far the only articles I’ve found referencing Cee-lo in dresses are from a photo shoot he did with/for Gnarls Barkley while wearing a wedding dress and it was a whole thing in regards to his commitment to the project.

Considering how generally supportive I’ve seen him be of a range of individuals, I really want to see evidence to the contrary. That is to say, I don’t find it unbelievable that he’s being problematic, but I would find it highly out of character.

Also he’s not flexing shit. Cee-lo is a 300lb Black man (those are his words). He may be bulky, but he’s not muscular. That’s just how he usually carries himself (honestly, compare it to other images of him in and out of costume).

Oh, and before I forget, why is it so unbelievable that he would be wearing the dress for non-problematic reasons, say, he finds the dress attractive? Maybe this is me getting bent over nothing, but this seems like yet another call-out for a non-issue wherein a Black man showing any form of non-traditional (read: heteronormative) masculinity, or *gasp* god forbid enjoying a bit of femme drag/presentation is being attacked as homophobic straight out the gate with no receipts to back it up.

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Once again, show me the proof this was meant to be mocking or insulting, and not reflective of his own tastes or desires and I’ll retract what I’ve said in support of Cee-lo. But if those receipts don’t show up I’m gonna continue sticking up for him. And Black men in general, who wish to display something outside of the proscribed norms.

David Bowie’s “Space Oddity” Recreated As Children’s Book

ComicsAlliance readers should by now be familiar with the work of Andrew Kolb. We’ve spotlighted the illustrator’s work a couple of times before, first for his groovy representations of The Walking Dead and other beloved artifacts of pop culture, and most recently for his work with some of comics, film and television’s most famous double-acts like The Muppets’ Bunson and Beaker and Kevin Smith’s Jay and Silent Bob, but in the style of carved wooden blocks.

Kolb’s latest work is more ambitious, telling the story of David Bowie’s classic “Space Oddity” in the style of an illustrated children’s book. The tale of doomed Major Tom plays out in Kolb’s bright and retro animation style, giving a face to the legendary Bowie character and making the conclusion that much sadder. 

Released in 1969 and considered a classic today, David Bowie’s “Space Oddity” is obviously a reference to Stanley Kubrick’s “2001: A Space Odyssey.” Like the film, Bowie’s song tells the story of an isolated astronaut whose life is threatened by a malfunction. Unfortunately for Bowie’s Major Tom, the character’s ultimate fate is decidedly grimmer than that of Kubrick’s Dave Bowman (Unless you want to get into Bowie’s “Ashes to Ashes” or the Pet Shop Boys remix of “Hallo Spaceboy” or the Peter Schilling fanfiction of “Coming Home”) 

If Bowie’s telling of the story sounds a bit dire from the start, Kolb’s reinterpretation is decidedly optimistic. Kolb’s illustrations also take their cues from that 1960s vision of the future seen in Kubrick’s films, but with the artist’s distinctly cheerful vibe that humanizes every aspect of the story, not the least of which are Major Tom’s space capsule and Ground Control themselves. Everything looks shiny and new, everybody is smiling and happy, and there’s no reason to think anything is going to go wrong. But of course it does, and in a way that fans of Bowie’s song will find quite clever. Without giving too much away, Kolb looked to the curious lyric, “And the stars look very different today” as a way to depict what exactly went wrong far above the moon.

Read the entire book at ComicsAlliance.